When I was thirteen, my family and I took a trip to Florida. I certainly wasn’t too old to love Disney World (I’m still not) but I was most excited to visit Universal Studios. After all, commercials for Universal Studious basically consumed cable tv stations in the mid 90’s, and my imagination took flight when I saw the commercial for the Jaws ride. Out of the depths of murky nothingness, a giant shark rises beside passengers in a boat, its face partially distorted by the flamboyant, spasmodic flashing lights that eclipse its visage and make the shark look more than a little surreal, and infinitely menacing. I was simultaneously horrified and titillated by the prospect of actually riding the Jaws ride and experiencing the enormous, foreboding shark for myself. Continue reading “In the Jaws of a Classic: An analysis of Steven Spielberg’s Jaws”
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Fear Goes Deep in The Shallows

About one third of the way through The Shallows, Michael turned to me and whispered, “This movie’s horrible.” By “horrible” he did not mean “bad” – but rather “incredibly disturbing” (my words, though I believe they’re correctly inferred, and, I would add, the movie was so “incredibly disturbing” that it was frickin’ awesome!) To be fair, it’s hard to create a contemporary incarnation of Spielberg’s esteemed Jaws, and Jaws is the lofty barometer against which any shark film (save perhaps Sharknaodo) will be measured. There is, to be sure, only one Jaws, but The Shallows is excellent because it never imitates, never pretends to be some millennial version of the Spielberg classic, and never shies away from being its grotesque, gut-wrenching but semi-hip self. No bearded fisherman smoking, fighting, comparing scars, and singing “Show me the way to go home…” in this film—no. We only see sexy, svelte, but terrified Nancy (Blake Lively) sprawled out on a rock, panting, contemplating what she needs to do to survive in the middle of a sparkling, shark-infested ocean. Continue reading “Fear Goes Deep in The Shallows”