Chum

Chum (2026) plunges into the crowded waters of shark-horror with a premise that feels instantly recognisable: a newlywed couple and their friends find themselves trapped on a yacht with a predatory great white—and, for added measure, a human killer lurking among them. The setup promises tension, gore, and a sun-soaked nightmare, but the execution struggles to rise above the genre’s well-worn tropes. While the film’s brisk 87-minute runtime keeps things moving, the pacing often feels rushed, sacrificing character development and narrative coherence for cheap thrills that rarely land with the intended impact.

The writing is one of Chum’s most glaring weaknesses. The screenplay, co-written by director Jonathan Zuck and Joe Leone, leans heavily on clichéd dialogue and underdeveloped character arcs, leaving the ensemble adrift in a sea of forgettable one-liners and half-baked motivations. The human antagonist, in particular, feels tacked on, serving as little more than a distraction from the film’s central shark threat.

Even the shark itself, a key selling point of the premise, fails to make a lasting impression. Several reviews note that the creature’s CGI rendering is unconvincing, with some critics going so far as to describe it as ‘AI slop’—a harsh but not entirely unfair assessment given the jarring visual inconsistencies. Visually, Chum fares slightly better.

The Mediterranean setting provides a picturesque backdrop, and the cinematography captures the contrast between the idyllic surface and the lurking danger beneath. However, the direction lacks the finesse needed to elevate the material, resulting in a series of competently shot but unremarkable sequences. The editing, too, is functional at best, with a few well-timed jump scares that feel more obligatory than inspired.

The production design, while serviceable, does little to distinguish the film from other low-budget horror entries, relying on familiar yacht interiors and generic blood effects. The cast’s performances are another weak link. While Alice Eve is a notable presence, her role is underwritten, and the chemistry between the actors often feels forced.

The supporting players, in particular, struggle with the script’s thin characterisation, delivering line readings that range from wooden to unintentionally humorous. The film’s attempts at emotional stakes—such as the newlyweds’ marital tensions—fall flat due to the lack of meaningful buildup, leaving the audience with little reason to invest in their survival. On the technical side, the background score and sound design are unobtrusive but unremarkable.

The music fails to amplify the tension, and the sound mixing occasionally drowns out dialogue in favour of generic horror stings. The film’s reliance on jump scares and sudden loud noises feels like a crutch, compensating for the absence of genuine suspense or atmosphere. Ultimately, Chum is a film that coasts on its premise rather than executing it with any real flair.

While it may satisfy undemanding horror fans looking for a mindless diversion, it lacks the originality, craft, or emotional weight to leave a lasting impression. The.