Phil Volken’s Dead Sea is a crime horror flick that promises a chilling tale of survival on the open water, but while it delivers a decently entertaining ride, it doesn’t quite plunge into the depths of suspense I’d hoped for. The premise is intriguing enough: a group of friends, stranded after a jet ski accident, are rescued by a fishing vessel harboring a dark secret. It’s a setup that teases danger and dread, yet the execution feels like it lacked the fear and dread I was hoping for. Still, there’s enough here to keep you watching, even if it doesn’t fully sink its hooks into you.
The film kicks off with a burst of energy, introducing us to Kaya (Isabel Gravitt) and her friends Tessa (Genneya Walton) and Xander (Koa Tom) as they zip across the sea on jet skis. The carefree vibe quickly crashes—literally—when an accident leaves them adrift and vulnerable. Volken does a solid job setting the stage, with the vast, isolating ocean serving as a stark backdrop to their predicament. The early moments hint at the survival thriller to come, and for a while, you’re on board, waiting for the tension to ramp up.
Enter the fishing vessel and its captain, Rey (Alexander Wraith), who pulls the trio from the water. This is where Dead Sea starts to bobble. The “chilling secret” aboard the ship—organ trafficking—sounds gruesome on paper, but the reveal lacks the punch to make it truly unsettling. Volken’s direction keeps things moving at a steady clip, but the suspense feels oddly muted. Scenes that should have you gripping your seat instead float by, leaving you curious but rarely on edge. It’s as if the film is afraid to dive too deep into the darkness it promises.
That said, the movie’s saving grace is Isabel Gravitt, who shines as Kaya. She brings a fierce determination to the role, transforming from a stranded victim into a resourceful fighter with a quiet intensity that commands attention. Gravitt’s performance is the anchor here, and it’s clear she’s a talent destined for bigger things. Every time she’s on screen, you’re reminded of what this film could have been with a tighter grip on its thrills. Hollywood, take note: cast her in everything.
Visually, Dead Sea makes good use of its setting. The cinematography captures the ocean’s beauty and isolation, contrasting the serene surface with the horrors below deck. There’s a gritty realism to the ship’s interiors that adds some texture, even if the special effects—like the jet ski crash—look a bit rough around the edges. Volken’s experience as a writer-director shows in the film’s cohesive look, but the pacing falters in the second half, drifting when it should be racing toward a climax.
The plot itself is straightforward, which isn’t a bad thing—sometimes a lean thriller is all you need. Kaya’s fight to escape and save her friends has a scrappy, underdog appeal, and there are a couple of satisfying twists, like her outsmarting the doctor. But the stakes never feel as high as they should. The organ trafficking angle, while grim, doesn’t build the kind of dread that lingers. It’s more of a plot device than a visceral nightmare, and that’s where Dead Sea misses the mark for me.
For all its lack of dangerous suspense, Dead Sea still left me rooting for Kaya, thanks to Gravitt’s star power. She’s the heartbeat of the film, and her final showdown with Rey delivers a flicker of the excitement I’d been craving.
In the end, Dead Sea is a good watch. It’s a solid effort from Phil Volken that floats along respectably but never dives into the deep end of terror. If you’re after a light thriller with a standout lead, it’s worth a spin.
Email:neill@outloudculture.com
