Researchers on the undersea lab Aquatica have genetically altered the brains of captive sharks to develop a cure for Alzheimer’s disease. But there’s an unexpected side effect: the sharks got smarter, faster, and more dangerous. After a big storm damages their remote research facility, they must fight for their lives.

Credits: TheMovieDb.

Film Cast:

• Carter Blake: Thomas Jane
• Dr. Susan McCallister: Saffron Burrows
• Sherman ‘Preacher’ Dudley: LL Cool J
• Tom “Scoggs” Scoggins: Michael Rapaport
• Russell Franklin: Samuel L. Jackson
• Jim Whitlock: Stellan Skarsgård
• Janice Higgins: Jacqueline McKenzie
• Brenda Kerns: Aida Turturro
• Boat Captain: Cristos
• Helicopter Pilot: Daniel Rey
• Helicopter Co-Pilot: Valente Rodriguez
• Helicopter Winch Operator: Brent Roam
• Boy #1: Eyal Podell
• Girl #1: Erinn Bartlett
• Boy #2: Dan Thiel
• Girl #2: Sabrina Geerinckx
• Friend of Janice: Tajsha Thomas
• Parrot Noises (voice): Frank Welker
• Executive (uncredited): Ronny Cox
• The Parrot (voice) (uncredited): Mary Kay Bergman
• Worker: Renny Harlin

Film Crew:

• Original Music Composer: Trevor Rabin
• Executive Producer: Bruce Berman
• Editor: Dallas Puett
• Makeup Department Head: Jeff Dawn
• Second Unit Director: David R. Ellis
• Casting Associate: Cassandra Kulukundis
• Editor: Frank J. Urioste
• Producer: Akiva Goldsman
• Visual Effects Producer: Kristen Branan
• Unit Production Manager: Todd Arnow
• Executive Producer: Duncan Henderson
• Production Design: William Sandell
• Music Editor: Dick Bernstein
• Production Supervisor: Anna Roth
• Foley Artist: Catherine Harper
• Utility Stunts: Joey Box
• Compositing Supervisor: Tim Alexander
• Stunt Coordinator: R.A. Rondell
• Additional Editing: Kevin Stitt
• Visual Effects Supervisor: William Mesa
• Visual Effects Supervisor: Jeffrey A. Okun
• Supervising Art Director: Mark W. Mansbridge
• Director: Renny Harlin
• Set Decoration: Debra Echard
• Assistant Art Director: Jonathan McKinstry
• Editor: Derek Brechin
• Supervising Art Director: Bruce Crone
• Makeup Artist: Steve LaPorte
• Casting: Christine Sheaks
• Prosthetic Makeup Artist: Matthew W. Mungle
• Art Direction: Héctor Romero
• Hairstylist: Robert L. Stevenson
• Costume Design: Mark Bridges
• Camera Operator: Guillermo Rosas
• Assistant Art Director: David Sandefur
• Producer: Tony Ludwig
• Producer: Alan Riche
• Screenplay: Duncan Kennedy
• Screenplay: Donna Powers
• Second Unit Director of Photography: Gary Capo
• Director of Photography: Stephen F. Windon
• Visual Effects Editor: V. Scott Balcerek
• Additional Camera: Frederick Iannone
• Co-Producer: Rebecca Spikings
• Prosthetic Makeup Artist: Clinton Wayne
• Set Designer: Karl J. Martin
• First Assistant Director: Thomas J. Mack
• Steadicam Operator: Mark Emery Moore
• Assistant Accountant: Gavin J. Behrman
• Music Consultant: Shakim Compere
• ADR Mixer: Troy Porter
• Makeup Artist: Allan A. Apone
• ADR Editor: Cindy Marty
• Visual Effects Supervisor: Jamie Dixon
• Stunt Coordinator: Ronnie Rondell Jr.
• Second Assistant Camera: Luis David Sansans
• Production Design: Joseph Bennett
• Executive Producer: Jonathan Schwartz
• Art Direction: Andrew Rothschild
• Casting Assistant: John Barba
• Unit Manager: Rafael Cuervo
• Production Illustrator: Harald Belker
• First Assistant Camera: Antonio Riestra
• Production Office Assistant: Jason McGatlin
• Visual Effects Editor: Lincoln Kupchak
• Post Production Supervisor: Ilyse A. Reutlinger
• Costume Supervisor: James W. Tyson
• Associate Producer: Patrick Lynn
• Camera Operator: Leo J. Napolitano
• Costumer: Philip Maldonado
• Prosthetic Makeup Artist: Chad Atkinson
• Digital Effects Supervisor: Simon Giles
• Digital Effects Producer: Alan Church
• Assistant Art Director: Nick Navarro
• Sound Re-Recording Mixer: John T. Reitz
• Leadman: Russell R. Anderson
• Foley Artist: Kevin Bartnof
• Still Photographer: Merie Weismiller Wallace
• Construction Coordinator: Gary Deaton
• Set Decorating Coordinator: Gerald Lehtola
• Transportation Coordinator: Russell McEntyre
• Location Manager: Michael John Meehan
• Property Master: Eric J. Bates
• Script Supervisor: Kelly Moon
• Music Editor: Will Kaplan
• Set Designer: Bill Taliaferro
• Supervising Sound Editor: J. Paul Huntsman
• Dialogue Editor: Patrick J. Foley
• Dialogue Editor: John F. Reynolds
• Sound Effects Editor: Andrew Somers
• Sound Effects Editor: Jayme S. Parker
• Script Supervisor: Portia Tickell
• ADR Editor: Karyn Foster
• Effects Supervisor: Walt Conti
• Underwater Director of Photography: Pete Romano
• Production Assistant: Iram Collantes
• Visual Effects Supervisor: Jerry Pooler
• ADR Supervisor: Hugh Waddell
• Property Master: Jerry Moss
• Unit Publicist: Peter J. Silbermann
• Camera Operator: Phil Pastuhov
• Visual Effects Supervisor: John Knoll
• First Assistant Camera: Darrin Keough
• Visual Effects Producer: Thomas Boland
• Visual Effects Supervisor: Rebecca Marie
• Sound Recordist: Rick Hromadka
• Sound Effects Editor: Adam Johnston
• Visual Effects Editor: Steve Shaw
• Foley Editor: Willy Allen
• Makeup Artist: Raúl Sarmiento
• Key Hair Stylist: Peter Tothpal
• Visual Effects Production Manager: Penny A. Mesa
• Location Assistant: Horacio Rodríguez
• Visual Effects Producer: Tiffany Smith
• Compositing Artist: Travis Baumann
• Set Costumer: Carrie Bauer
• Art Department Coordinator: Beth Bajuk
• Assistant Art Director: Ligia Ornelas
• Set Designer: Javier Nava
• Supervising Sound Editor: Robb Wilson
• Visual Effects Editor: Kevin Clark
• Visual Effects Producer: Scott Dougherty
• Visual Effects Editor: Mark Eggenweiler
• Visual Effects Producer: Heather Smith
• CG Supervisor: John E. Sasaki
• Visual Effects Supervisor: Craig A. Mumma
• CG Supervisor: Douglas R. MacMillan
• Animation: Constance Bracewell
• Animation: Julie Nelson
• Animation: Bruce Pearson
• Animation Supervisor: Ken Stranahan
• CGI Supervisor: Serge Sretschinsky
• Camera Operator: Gregory J. Schmidt
• Camera Operator: Marc Spicer
• Makeup Artist: Jim Kail
• Animation: Steve Nichols
• Color Timer: Dale E. Grahn
• Sculptor: Jim McPherson
• Visual Effects: Joshua I. Kolden
• Special Effects Technician: José Ignacio Álvarez
• 2D Sequence Supervisor: Kevin Lingenfelser
• Construction Foreman: William Apperson
• Animation: Rick O’Connor
• Producer: Don MacBain
• Production Secretary: David Gorder
• Digital Effects Producer: Rebecca Farhall
• Special Effects Supervisor: John Richardson
• Stunts: Erik Rondell
• Production Manager: Anthony Franco
• Second Assistant Camera: Matt Toll
• First Assistant Camera: John Kairis
• First Assistant “A” Camera: Gregory Irwin
• Digital Effects Producer: Richard J. Cook
• Rigging Gaffer: Ismael ‘Izzy’ Gonzalez
• Orchestrator: Tom Calderaro
• Production Sound Mixer: Tim Cooney
• Stunt Double: Robin Lynn Bonaccorsi
• Key Rigging Grip: Jonas Juhanson
• Executive In Charge Of Production: Mark Scoon
• First Assistant “A” Camera: Brad Peterman
• Costume Supervisor: Joe McCloskey
• Electrician: Matt Buchan
• Key Grip: Gustavo Covarrubias
• Production Accountant: Armando Amador
• Extras Casting: Tina Kerr
• Roto Supervisor: Karen Klein
• Visual Effects Compositor: Jeffrey Arnold
• Underwater Gaffer: Patrick Murray
• Standby Painter: Anthony Gaudio
• Assistant Chief Lighting Technician: Gary Hill
• Second Assistant Camera: Jian Cong
• Special Effects Technician: Craig Tex Barnett
• Stunts: Troy Gilbert
• Driver: Rick Kelleher
• Grip: R. Dana Harlow
• Visual Effects Technical Director: Brian Shows
• Boom Operator: Todd Bassman
• Aerial Coordinator: David Paris
• Stunts: Lesley Aletter
• Visual Effects Compositor: Ted Andre
• Second Second Assistant Director: C.C. Barnes
• Electrician: John Crimins
• Visual Effects Coordinator: Jack Geist
• Negative Cutter: Mo Henry
• Best Boy Electric: R. Gern Trowbridge
• Special Effects Coordinator: Sergio Jara
• Second Assistant Director: David Kelley
• Production Office Coordinator: Francis Meade Warner
• First Assistant Camera: Frank Flick
• 2D Sequence Supervisor: Mark Tait Lewis
• Conductor: Gordon Goodwin
• Stunt Double: Keli Murphy
• Assistant Costume Designer: Karla Stevens Flanigan
• Set Dressing Artist: Chris Adams
• Additional Music: Michael Jay
• Projection: Tom Ajar
• Set Medic: Sarah Catizone
• Set Production Assistant: Jose Jimenez
• Transportation Captain: Hugo Chew
• Video Assist Operator: Jeff Burrage
• Gaffer: Mick Morris
• Lighting Technician: Bruce Sharp
• Assistant Sound Editor: Catherine Calleson
• Digital Compositors: John Rauh
• Storyboard Artist: Gary Damian Thomas
• Mechanical Designer: Larry Cheng
• Stunts: Cinda-Lin James
• 2D Sequence Supervisor: Craig Mathieson
• Foley Supervisor: David L. Horton Jr.
• 3D Modeller: Mathew C. Judd
• Key Grip: Mark Ramsey
• Foley Mixer: Eric Gotthelf
• Rotoscoping Artist: Erin M. Cullen
• CG Animator: Jason MacLeod
• 2D Sequence Supervisor: Marcel Martinez
• Second Assistant Camera: Jerry Patton
• Visual Effects Compositor: Dan Walker
• Grip: Marcelino Luna
• First Assistant Camera: Jose Gutierrez
• Visual Effects Compositor: Christina Drahos
• Second Assistant Camera: Scott Ronnow
• Assistant Camera: Eric K. Jones
• Textile Artist: Niamh Murphy
• Colorist: Jonathan Malden
• Rotoscoping Artist: Etienne Andlau
• Executive Assistant: Kate Neumann
• Construction Buyer: Gabriel Pérez
• First Assistant Accountant: Lucy Amador
• Second Assistant Camera: Tom Jordan
• Special Effects Technician: Darrell Burgess
• Assistant Makeup Artist: Patricia Romero
• Assistant Property Master: Martin Gutierrez
• Storyboard Artist: Lee Wilson
• Visual Effects Designer: Clark Schaffer
• Visual Effects Production Assistant: Gino Freselli
• Best Boy Grip: Frank Montoya
• Second Assistant Camera: Cash Cockerill
• CG Animator: Daniel Klem
• Animal Wrangler: Adolfo Lara
• Assistant Chief Lighting Technician: Joe Hanes
• Original Concept: David L. Snyder
• Production Executive: Randy Starr
• Stunts: Patricia M. Peters
• Writer: Wayne Powers
• Second Assistant Camera: Fernando Díaz Torres
• Systems Administrators & Support: Justin Burdine
• Hairstylist: Reka Wessely Tihanyi
• 2D Sequence Supervisor: Sean O’Connor
• Hairstylist: Silvia Hernandez
• Special Effects Makeup Artist: Michael Shawn McCracken
• Assistant Chief Lighting Technician: Enrique Sánchez
• Electrician: Michael Glover
• First Assistant Camera: Constantino Jiménez
• Video Assist Operator: Kevin Hawks
• Mechanical Designer: Peter Fletter
• Mechanical Designer: Robert Fuhrmann
• Mechanical Designer: Tom Hsiu
• Mechanical Designer: David Knight
• Mechanical Designer: Tony Lawson
• Animation: Michaela Zabranska
• Digital Compositor: Tami Carter
• Rotoscoping Artist: Lisa Garner
• Rotoscoping Artist: Sean Prusak
• Visual Effects Coordinator: LeiLa Ratti

Movie Reviews:

• Gimly: There’s quite a cast assembled for _Deep Blue Sea_, not what we’ve come to expect from the Asuylum-soiled genre of shark movies in this day and age. It’s not a fantastic movie, but it proves more watchable that 90% of its company.
• _Final rating:★★½ – Had a lot that appealed to me, didn’t quite work as a whole_.
• Kamurai: Great watch, would watch again, and do recommend.
• This is probably my favorite shark movie. I know “Jaws” did a thing back when, but I like this better. It doesn’t mean it’s a better movie, the same way that more people like pizza than salad even though salad is a better food.
• The biggest part of why I like it so much better is that it’s a survivalist situation, in an isolationist setting, and the sharks are “intelligent” so they’re actively hunting the humans so it becomes a killer creature feature too.
• The cast is really good, and you should probably recognize about half the faces, whether or not they’ve been in Marvel movies.
• The split story lines bother me a bit, and more when they’re voluntary, but it works. And when someone gets eaten by a shark, everyone else greedily makes an opportunity of it in a good survivor’s fashion.
• This is a movie fueled by adversity instead of stupidity, as is a soft requirement for some movies. I guess the “stupidity” is creating the situation in the first place
• If you like sharks eating people, or underwater bases (“Rapture”), or liked “The Meg” then give this a watch.
• Tejas Nair: An engaging thriller with a mindless plot, Deep Blue Sea managed to keep me hooked throughout its loud 100-minute running time. A doctor and her team of researchers looking to find a cure for Alzheimer’s in sharks in an isolated facility in the middle of an ocean – what more do you need for some sweet chaos while also supported by some unethical practices? Deep Blue Sea is not the most realistic shark film out there but it has a lot of cool action, suspense, the added pleasure of flooding sequences, and a protagonist that you love to hate. Go for it. (Grade B-). TN.
• The Movie Mob: **Peak corny shark goodness!** 🦈🦈🦈
• Deep Blue Sea falls prey to every shark movie trope and has a blast doing it. Embracing its cheesiness makes this movie one is the all-time best shark flicks—a fabulous cocktail of 90s cheese, sharks, and surprising twists. If you haven’t seen this one, I guarantee you will be surprised by who survives and who doesn’t.
• CinemaSerf: The science behind this may well be plausible – that cures for human ailments may well rest elsewhere in the animal kingdom. To that end Saffron Burrows (“Susan”) enlists the help of millionaire philanthropist “Russell Franklin” (Samuel L. Jackson) to develop a cure for Alzheimer’s using sharks captive in a converted offshore submarine refuelling base. When he arrives at the facility he meets the rather oddball crew including “Carter” (Thomas Jane”) “Preacher” (LL Cool J) and “Jim” (Stellan Skarsgård) before quickly discovering that these genetically altered fish are tired of being the guinea-pigs in the lab and are bent on revenge. The film does not hang about; the effects are quite scary at times but the one great snag is given that the sharks are supposed to be super-intelligent: why did they agree to star in a film with the dreadfully flat Burrows – there are bits of flotsam in this film less wooden than her performance. Jane & LL Cool J have some fun as they try to evade their menacing foes and though it certainly isn’t “Jaws”; it’s not terrible…