Those for whom entertainment never goes far enough or low enough may get a kick or two out of travesty-on-purpose Narco Sharks (Narco Shark 2), the feature-length sequel to Narco Shark that was written and directed by Gerardo Preciado. It starts off as a movie called Narco Cop that is shot in widescreen. Narco Cop (Ricky Valente) is a law-bot battling mutant sharks with a thick Austrian accent. However, the studio finds Narco Cop has no charisma and pulls the plug on his stand-alone movie.
The studio would rather make Narco Sharks (Narco Shark 2) because everyone likes sharks more than law-bots. At this point, the film format continues in full-frame analog, as the movie will be direct-to-video. Everyone wants Ricky (Valente) to reprise his role from Narco Shark and do the sequel. However, Ricky is a true artist and would rather starve in the streets than sell out.
His sidekick, Tito (Rafael Meza), decides to look for drugs to distract from his hunger, but that makes grown-up baby Jesus (Rene Jimenez) cry. For a while, they fight off all sorts of mutant sharks, some with dog legs and some with wings. Then all the sharks go somewhere while more offers are made to homeless and hungry Ricky, who keeps turning the sequel down.
Meanwhile, Narco Cop is way pissed about losing his solo movie and wants his widescreen angle back. There is also a dangerous panda in a nun’s outfit, Sister Panda (Jose Francisco Arana), out there somewhere, doing something. Everyone wanders around, doing something, wondering where the sharks went.
“…they fight off all sorts of mutant sharks, some with dog legs and some with wings.”
HTF do you review a WTF movie as WTF as Narco Sharks (Narco Shark 2)?Let’s count the WTFs so far. The biggest one is, WTF am I supposed to review something that is obviously very smart but keeps aiming below the lowest common denominator?
A great example is a showcase of street farting to music, which is easily among the most juvenile things I have ever seen. Then, suddenly, the film starts fast-forwarding through the sequence in order to get it over with. Totally clever. How can one film look like something trippy that would show up on Night Flight back in the day, one minute, while looking like a public access diarrhea fountain a minute later?
You have this fantastic opening credit sequence that harkens back to the Terminus credits in the 80s, as well as this mysterious monochrome opening where a figure is hidden by a cloak, sitting amongst a flock of plastic sheep. Wow. Then you have Tito dressed as a beaver, defecating chocolate pellets into a cereal bowl to force-feed a homeless man. Awful. But then the Sugar Poos logo comes up with the floating retriever head. Back to clever. But then the gag is returned to and is beaten into dead horse jerky. It is the most vigorous whiplash between incredible and pathetic ever. And I feel that this was done on purpose.
"…crosses the line from entertainment into bombardment."
