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47 Meters Down by tomandandy (Review)

posted Sep 14, 2017, 11:55 AM by Kaya Savas

47 Meters Down takes the formula of The Shallows and asks “what if there were 2 girls? And what if it was underwater!?”. It’s a relatively effective and cheap way to make a horror/thriller if not wholly original or engaging. 47 Meters Down is composed by tomandandy, the composing duo made up of Tom Hajdu and Andy Milburn. The duo have no shortage of experience in this genre with scores like Mean Creek, The Hills Have Eyes, The Covenant, The Strangers, Resident Evil: Afterlife, Resident Evil: Retribution and others. If you’ve heard their other scores then nothing here will surprise you, and in the end the score is just a wash of electronic distortion that’s meant to add tension and uneasiness, but is ultimately just void of any emotional drive.

The score goes all in with the electronic distortion and really that’s all that the score has to offer. While atmospheric and dissonant scoring can work extremely well in some cases, here it really doesn't amount to much. The score is really just two working parts. The first part are the more tonal atmospheres that do help give a sense of being isolated underwater. The other part is just distorting sounds really loudly and abruptly. Pretty much the equivalent of sneaking up behind someone to scare them, but instead of going “boo!” you just punch them in the face instead. There’s no finesse or structured approach here that makes the score as effective as it should be. And the movie does have a little twist ending, which the score does handle as well as it can, but really there’s no personality for us as an audience to latch onto.

47 Meters Down is just your average B-movie score. It follows the simple premise of the movie and doesn’t do anything unique. You have your dissonance and atmospheric scoring, you have your tension builds, you have your moments of terror and then it’s over. The electronic approach here was perfect for the atmospheric tonal parts, but can you imagine if you had shrieking strings or droning cellos for the more terrorizing parts? I’m not one of those orchestral fanatics that hates electronics, but just having crunchy synths blasting loudly wasn't effective at raising my heartbeat at all. In the end, the score and film do the bare minimum needed and that’s it.