Invasion of the Mermaids

Invasion of the Mermaids (2025)

Invasion of the Mermaids (2025) reimagines mermaid mythology through a dark, environmentally charged lens. Directed by Sofia Voss, the film fuses fantasy and horror, presenting primal, predatory aquatic creatures rather than the innocent, ethereal beings of traditional folklore. Set in a near-future coastal town, the story opens with strange occurrences—unusual tides, thick supernatural fog, and whispered voices from the deep. These ominous signs escalate into a series of disappearances tied to an ancient race of mermaids out for vengeance.

The narrative centers on Dr. Lena Hayes, a marine biologist whose routine ecological survey turns into a terrifying investigation. Her team discovers creatures with razor-sharp teeth and glimmering bioluminescent scales—genetically engineered or perhaps ancient beings returning to punish humanity for polluting their habitats. Led by a merciless Mer-Queen, these sirens unleash storms, manipulate tidal patterns, and claw at humanity’s sense of safety.

Visually, the movie is a standout. Cinematographer Greig Fraser and Weta Workshop craft a haunting underwater realm: glowing reefs, dark ocean corridors, and the mermaids’ eerie bioluminescence all create an immersive visual feast. One scene in particular—a night assault on a fishing vessel, lit only by flickering escape-lights and the creatures’ glow—recalls a terrifying blend of Jaws and Alien. The creature design is exceptional; these mermaids move like alien predators with jerky, uncanny grace, their translucent gills and pupil-less stares intensifying their otherworldly presence.

Performances are anchored by a strong ensemble. Emilia Clarke portrays Dr. Hayes with intelligence and vulnerability, though her character occasionally lacks emotional depth due to rushed development. David Harbour provides rugged levity as a local fisherman, delivering memorable lines like, “I’ve fought nor’easters and drunk moose, but this? This is Newfoundland’s first bloody mermaid apocalypse!” Meanwhile, Anya Taylor-Joy lends ethereal menace to the motion-capture performance of the Mer-Queen, a role both sympathetic and terrifying. Sterling K. Brown plays a military officer whose abrupt change in outlook feels underwritten, but his intensity adds needed gravitas.

At its core, Invasion of the Mermaids is a cautionary environmental tale. Oil spills, plastic waste, and seabed mining have driven these creatures to rebellion. In one haunting shot, a mermaid’s nest crafted from discarded plastic bottles drives the ecological message home—though at times the allegory feels a bit overplayed. The film also hints at deeper lore through Indigenous mythic connections, but this subplot remains underexplored.

Pacing fluctuates. The opening builds dread effectively with sonar blips and whispered underwater threats. Yet the film shifts abruptly into large-scale action—storm-ridden battles and frantic shoot-outs—reminiscent of Pirates of the Caribbean and Cloverfield, though lacking their stakes. The tonal shifts—from lyrical underwater sequences to quirky one-liners—sometimes weaken the emotional core.

In the finale, Lena attempts communication using sonar pulses and sign language, forging a moment of shared understanding with the Mer-Queen. Though powerful, this moment is undercut by a conventional military crescendo: torpedoes, a CGI tsunami, and a resolution that feels rushed.

In summary, Invasion of the Mermaids is an ambitious, visually stunning eco-thriller with strong creature design and a committed cast. While it falters in narrative depth and tonal consistency, it remains a compelling experience—especially for fans of aquatic horror and environmental allegory. It dazzles more than it delves, but what it does, it does with style.