Category Archives: Movie Review

Sinister Summer: “The Silence of the Lambs” retrospective

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“Good evening, Clarice.” How many of you have never thought of fava beans and chianti in the same way since then? Quite literally inventing a new genre that combines elements of horror, suspense, and crime to create the crime thriller, The Silence of the Lambs remains the motion picture that typifies the genre. More than 27 years later, Silence still holds up and continues to terrify audiences today. Whereas this iconic film may not be considered horror, by today’s understanding and expectation by many, it was certainly widely considered horror when it was released in 1991. A sleepy success, I might add. Essentially, Silence is an indie film that flew in under the radar but soon grew to be immensely popular and critically acclaimed. Silence is also one of only three films to win “the big five” Academy Awards (picture, director, lead actor, lead actress, and screenplay). This, in and of itself, serves as demonstrable evidence that The Silence of the Lambs is one of the most influential and profound films of all time–across all genres. Furthermore, there is not one single moment that I would change because it is cinematically perfect just the way it is. It is arguably a dark crime-thriller, but it is also very much a horror film. When asked which category I put it in, I respond with horror. Why? Because there is certainly intent to horrify audiences during particular scenes in the film; whereas, a crime-thriller tends to not overly concern itself with the intent to horrify. The intent to horrify is what defines it as a horror film first and crime-thriller as a very close second.

A senator’s daughter is kidnapped, and it is believed to be the work of a serial killer. After serial killer “Buffalo Bill” (Levine) leaves a trail of mutilated bodies of female victims behind, FBI forensic psychology director Jack Crawford recruits Clarice Starling (Foster), a sharp cadette, to interview famed psychiatrist, cannibal, and psychopath Dr. Hannibal Lecter (Hopkins). Crawford hopes that Lecter can provide insight into the case in order to apprehend Buffalo Bill. While tracking down Buffalo Bill with assistance from Lecter, Starling must confront her own internal fears in order to overcome all obstacles to catching Buffalo Bill before he kills again.

Most notable in Silence of the Lambs are the performances of Anthony Hopkins, Jodie Foster, and don’t forget Ted Levine. While Hopkins and Foster get most of the attention, Levine delivers a command performance as Buffalo Bill. Delivering a spine-chilling and exhilarating performance as Dr. Hannibal Lecter is Sir Anthony Hopkins. The performance was so intensely perfect that he won his Oscar for male actor in a leading role with fewer than 15mins on screen. Hopkins gave us an uncompromising performance that caused audiences to be frightened and yet love him at the same time. Furthermore, this performance ushered him into the company of the likes of Jason, Freddy, and other icons of horror. Foster’s Academy Award winning role as Clarice Starling was gripping, engaging and pivotal. Her phenomenal performance gave a much-needed voice to feminism–a voice that was sorely missing at the time–and is still needed today. She was strong, feminine, smart, vulnerable, and clever all at the same time. Not nearly receiving the accolades he should, Ted Levine’s Buffalo Bill is masterfully delivered. His terrifying portrayal of this character was dark, twisted, and mesmerizing. In fact, his oft quoted line “it rubs the lotion on its skin or else it gets the hose again” appears in memes, parodies, and other media. His character was even used in an episode of Family Guy. Levin’s Buffalo Bill, much like Lecter and Starling, was instantly iconic. What is the common element found in each of these performances? Uncompromising devotion to the character that brings about a believability that few actors have been able to encroach upon.

What a screenplay! One of the foundational parts of visual storytelling that I feel is largely missing from many modern horror films is a solid screenplay. Adapted from the novel written by Thomas Harris, Ted Tally’s Oscar-winning screenplay for Silence is incredible. Although there are some differences between the screenplay and the novel, the screenplay is widely seen as an excellent adaptation and even praised for its more unnerving ending compared to the novel. While some negatively criticize the screenplay for portraying transgendered (or more broadly queer) individuals as being predisposed to abnormal or violent behaviors, Tally’s screenplay comes to the defense by including dialogue that transgendered individuals are prone to pacificity plus no scientific correlation between, what we would now call the LGBTQ community, and violence. Starling is never objectified by Lecter; and any other character objectifying or patronizing her, she quickly diverts attention back to the case. She isn’t modeled as a sex symbol; funnily enough, Lecter refers to her clothes as frumpy, cheap, and her entire persona is barely beyond her background as “poor white trash” from West Virginia. The screenplay contains a healthy, progressive message for feminism–more specifically–women working in a man’s world. Foster’s Starling gave a voice to those women who are working diligently to prove that they are just as capable (and in some cases maybe even moreso) as any man in a given profession. Some film scholars and critics have referred to Silence of the Lambs as one of the most feminist films of all time. Prior to Silence, there were few horror, crime, or film noir motion pictures with strong female protagonists (Ridley Scott’s Alien being another example).

Executing his impeccable vision for this iconic film, the late director Jonathan Demme guided this film from screenplay to screen, blazing new trails for a genre not typically known for high caliber, excellent motion pictures. Moreover, the film was so successful that junior executives at studios would pitch other screenplays as “the next Silence of the Lambs.” Most remarkably about the direction of the film is the success at overcoming prejudices held against visually and psychologically disturbing stories that involve graphic language, cannibalism, nightmarish serial killers, nudity, self-mutilation, and (although mostly off-screen) violence. There are Hitchcockian tones in the suspense and violence that can be seen in the off-screen violence, framing, lighting, and angles. That which is in the mind is more frightening than what the naked eye can see. Demme’s Silence is arguably seen as a model for other horror and thriller filmmakers, and is often imitated but never has been replicated. The power of subtlety. Demme communicated so much emotion through subtle movements and strategic dialogue rich with subtext. One element that is common amongst Best Picture winners is the ability to take what was then “present day” and make it timeless. The plot, characters, and setting feel ageless. Genuine fear can be felt throughout the film because Demme channeled that which terrifies him in real life. It’s authenticity is uncanny. Much like Psycho was groundbreaking for modern horror films featuring psychopaths and twist endings, Silence of the Lambs was groundbreaking in that it relied upon the everyday world rather than supernatural forces to shock with unbelievable credibility and realism.

While the director, screenwriter, and actors are the principle forces behind the success and timelessness of Silence, the film would not have won best picture without amazing editing, music, cinematography, and other technical elements. The best editing and cinematography occurs when you don’t see the seams or think about camera placement or angle. Superior editing and cinematography enable the characters and plot to maintain center stage. The world Demme desires to portray in the motion picture was to be as real as possible. Hence why you won’t find lengthy shadows, set decoration that stands out from the world that it inhabits, and music that enhances but never overpowers a scene. Demme and his director of photography Tak Fujimoto worked together to strategically include a motif of birds that are literal and metaphoric. This is evident in not only Clarice “Starling” but in the crows at the beginning, stuffed owl in the Your Self Storage unit, and even in the line at the crucial turning point, “it’ll be terns for us too.” Birds are an important element in films, not limited to horror films. Specifically terns was used in place of turns because terms are a protected bird species, much like the mind of Dr. Lecter. Birds are a common motif or symbol in films, and can be used to represent different concepts or ideals.

Thematically, Silence is incredibly rich. These themes are brought out through the strange relationship shared by Lecter and Starling. There is a high level of respect mutually expressed by both characters, albeit unconventional. This strained relationship is observed in the similarities between Lecter and Starling. Examples of the parallels between Starling and Lecter include the feeling, they both experience, of being ostracized by the world in which they respectively live and work. Lecter from the human race, for his psychopathy and cannibalism; and Starling by the law enforcement profession because she is a women in a time that women were not commonly pursuing careers in law enforcement. They both occupy a prison. Whereas Lecter’s prison is a literal one, Clarice’s is a metaphoric one because of the men that literally and figuratively tower over her, establishing her boundaries. Clarice may not have a doctorate but she can easily match wits with Lecter in the shared power they both have to manipulate and persuade with cunning. Less obvious is the shared past they both have as victims of abnormal upbringings. Lecter was a victim of child abuse, and this ca be inferred in his dialogue with Clarice (note: Demme should have underscored this a little more) with Clarice being left an unloved orphan to be raised by distant relatives. Shared childhood trauma. These similarities are what forge the bond between these two strong characters. Demme and Fujimoto reinforced these themes and relationships with visual storytelling elements in order to personify and manifest in dynamic ways that hook and mind and eye.

Jonathan Demme’s The Silence of the Lambs remains one of the most iconic films in cinema history and will continue to have an evergreen shelf-life. It’s a multidimensional motion picture that frightens and intrigues. It is an arthouse film that achieved commercial success. Perhaps Red Dragon and Hannibal do not live up to the quality of experience of Silence but they by no means infringe on the ability for Silence to terrify us today. From the buildup to the introduction of Dr. Lecter to the trademark moth cocoon in the throat of the original victim. Furthermore, Demme continues to drive up the suspense and tension that create frightening thoughts and imagery through the use of interiors and exteriors of houses and buildings that represent the minds of characters (i.e. Buffalo Bill’s house and lair). We continue to seek this film out for its ability to manipulate our minds and eyes through strategic and artistic use of story and image. And you know what? We love these characters. We like and can identify with Clarice, have an unconventional respect and even like Dr. Lecter, and are completely intrigued and disgusted by Buffalo Bill.

 

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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“KIN” movie review

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Too little plot spread across too much movie. Although I have not seen the short film Bag Man on which this movie is based, it is clear that there were many good elements in the short but unfortunately not enough plot, character development, nor turning points were added to take this short, and turn it into a feature length science-fiction urban fantasy movie. The pacing is inconsistent. My friend who screened the film with me last night likes to refer to this concept as the accordion dilemma. Long, drawn out boring parts that are quickly pushed together for an exciting moment, then stretched out again. Personally, watching this movie felt like sitting on the I-4 between Orlando and Tampa. There is also the concern that the film is depicting the wrong image for young men. One can easily read this movie as a troubled young man, with an ex-con brother and grieving father, who only feels powerful when he has a firearm at his side. Not the kind of message we want to send to young people. Had the film focussed more on character development, and the relationship between the two brothers, then this may have made a solid drama. As it stands, the film sits at an uncomfortable crossroads between genres that ultimately fails to deliver a memorable movie.

When salvaging one of the hundreds of vacant buildings in run-down Detroit, Elijah (Myles Truitt) stumbles across the remains of a battle between futuristic-looking soldiers. Near the soldiers is a powerful ray gun that he claims as his own. At home, his father (Quaid) is still grieving over the loss of his wife and troubled over the return of his other son, now ex-con Jimmy (Reynor). When Jimmy asks his father for $60K to pay off a gang that protected him in prison ran by Taylor Bolek (Franco), his father tells him to get a job. When Jimmy executes a plan to acquire the money by arranging a heist with the Taylor’s gang, and things go wrong, Jimmy finds himself on the run. Fearful for his brother’s life, Jimmy persuades Elijah to come on a road trip to Lake Tahoe where the plan is to meet their father later on. Soon, both brothers find themselves running for their lives from a sadistic gang and other-worldly soldiers. Fortunately, Elijah has a weapon that will do more than simply protect and destroy.

The Baker brothers have included many effective elements for telling their story in this film; however, proper pacing, a sense of urgency, character and plot development are not connected fluidly. Furthermore, there are many sequences of just driving–endless driving. Much like the Hobbit movies featured lots of scenes of running. My favorite scene in the movie is when Jimmy is teaching Elijah how to drive, and has him doing donuts in the parking lots of a seedy motel. The look on Elijah’s face was priceless, and it was in that moment that a real connection was felt between the brothers. Otherwise, the rest of the scenes in the movie are forgettable. Even the “sci-fi twist” that is referenced in marketing materials feels more like a mechanical explanation than a resolution that packs a punch.

Visually, the film worked. Clearly, the Baker brothers have sufficient experience at communicating messages through imagery–and no mistaking it–that is incredibly important to a motion picture. This is likely due to their experience in directing commercials, which successfully tell stories in 30secs or less. Unlike other science-fiction films that rely almost entirely on digital effects, in a refreshing manner, the Baker brothers pair the practical with the digital to create a sense of realism in the film. Even the futuristic weapons and other technology feel grounded in reality–they play by the same rules of physics we do. The film may suffer from a terrible screenplay; but it excels in areas such as cinematography and editing. Not entirely sure what possessed a studio junior executive to green-light this, but I imagine they won’t be green-lighting projects for a while now. From what I’ve been told about the short film, the ending of this feature adaptation was changed. My guess is that it was changed in order to setup a sequel–a sequel that we will probably never be seen if the film does poorly this weekend at the box office.

If you enjoy science-fiction urban fantasy movies, then you may find some entertainment value in this. The movie works better as the pilot to a limited run series on Netflix, Hulu, or Prime than a feature film. Perhaps that is where this story will wind up. With changes to the screenplay, it could find a life on a streaming service; but as feature film, it did not deliver the simple plot and complex characters needed.

Ryan teaches screenwriting at the University of Tampa. If you like this article, check out the others and FOLLOW this blog! Interested in Ryan making a guest appearance on your podcast or contributing to your website? Send him a DM on Twitter!

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“Searching” Spoiler-Free Full Review

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Remarkably spellbinding! Searching takes the concept of “screen life” movies to impeccable levels. Although the concept of a film relying entirely on computer screens is not new, this is the first time that it has been executed perfectly. The first wide-release film to take this approach was 2015’s Unfriended, and it was quite the pioneer in its approach to essentially adapting Agatha Christie’s And Then There Were None, with the end result being pretty good. The following films to take the approach, including the more recent Unfriended: Dark Web, failed to tell a coherent story. Learning from the successes and failures of this cinematic concept of the past “computer screen” films, writer-director Aneesh Chaganty, along with co-writer/producer Sev Ohanian, crafts a suspenseful thriller that truly understands the power of the internet and how it enables and affects our actions. There is genuine emotion felt in this film. You will truly care about the lead characters and remain hooked for the entire film. Chaganty seems to have taken a page right out of the Alfred Hitchcock playbook for suspenseful storytelling that relies upon character development, twists of the everyday, and only use on-screen violence or graphic details to supplement the story. This tension-filled voyeuristic crime drama is successfully created–not through viruses, the supernatural, dark web or illegal activities–but through the mundane things we do everyday. Perhaps this film uses modern technologies to tell the story, but the soul of this film is brilliant old-fashioned suspense. And that solid foundation is why this film will do incredibly well.

Following the tragic death of wife and mother Pam, David (John Cho) and his daughter Margot are forced to move on with their lives, doing their best to cope with the loss of their loved one. Over the couple of years since his wife’s death, David and his daughter have drifted apart but still maintain a relationship. Loss of a mother and wife has a major impact upon a family. After Margot fails to return home after a study group session at a classmate’s house and repeated unreturned texts and phone calls, David fears that something terrible has happened to his daughter. When another classmate informs David that Margot never showed for a trip on which she was invited, David reports her as missing to the police. Detective Vick (Debra Messing) heads up the investigation into the whereabouts of Margot that immediately leads nowhere. Lead after lead leads the investigation to believe that Margot may have simply ran away. Convinced that his daughter did not run away, because of so many elements of the investigation not adding up, David turns to the one piece of evidence that was initially overlooked by the police, Margot’s laptop. Following the cookie crumbs left in the seemingly mundane websites visited by Margot, David begins to connect the dots that will hopefully lead him to what happened to his daughter.

No spoilers here. In fact, I urge those who have seen it to NOT spoil it for everyone else. In a manner of speaking, this film feels very much like Psycho must’ve felt when it was released. Hitchcock mandated that no one be allowed to enter the auditorium after the movie began; and furthermore, he insisted on an adherence to strict show times. In fact, much of how our modern cineplexes are run today are a product, in part, by the release of Psycho. The closest I will get to spoiling is informing you that there is an amazing twist ending. Just when you think the story is coming to a close, watch out! Taking what Unfriended (the original, not crappy indirect sequel) did well, and learning from what Dark Web failed to do, Chaganty’s Searching provides audiences with a fantastic experience visually, and anchors the plot with strategic, effective emotional beats.

The story is just as much emotional as it is visual. Possibly even more emotionally and psychologically-driven than the images the frame can capture. Whereas other films that rely upon what we do on our computers fail to have genuine, authentic characters, Searching depicts everyday, real life people doing what millions of others do. How often have many of us been able to talk to complete strangers about something that we are uncomfortable talking to our family or closest friends about? That is precisely what Margot does. Providing additional commentary on the mediation of society through digital media, Chaganty highlights our digital selves versus our actual selves. This is evident in the healthy social life Margot was leading her dad to believe she was experiencing; when in actuality, she was quite alone and simply focussed on school work and little else. David realizes that he didn’t know his daughter at all.

Previous “computer screen” concept movies pretty much involved never leaving the primary computer screen–easily becoming visually exhausting. Chaganty’s thriller chooses to switch from iMac, to iPhone, to PC (with Windows XP), to online news footage. These changes prohibit the setting from ever becoming too familiar or boring. The minor changes keep the senses heightened. Hitchcock earned his moniker by consistently delivering suspenseful cinematic excellence; and this suspense was executed with visual precision coupled with strong emotion. Chaganty very much patterns his modern suspenseful crime drama after the exemplary work of Hitchcock. Different from previous films using real-time on a computer to allow the plot to unfold, this film takes place over a week–closer to more traditional “movie time.” One may be inclined to conclude that the tension feel less intense because of not watching the plot unfold in real time, but that is definitely not true with Searching.

From the moment Margot’s missed facetime and phone calls fail to waken her father to the heart-pounding conclusion, the tension is in high gear. Hitchcock describes suspense as the having to do with the audience having sympathy for the characters and an intense need for something dramatic or shocking to happen. While the audience does not want something bad to happen to the lead characters, they are still at the movie in hopes that something terrible happens. Ironic, isn’t’ it? Much like Hitch delivered suspense through information, Chaganty does the very much the same with Searching. Another way Hitch delivered and ensured a suspenseful atmosphere in his films was having two important events happing concurrently. With David and Vick very much leading their own investigations respectively, we often experience this dichotomy. And Hitch is certainly famous for his twits, and this film contains some fantastic red herrings and twists to the tension-filled plot.

Presently in a limited release, with the film opening everywhere August 31st, Searching is a phenomenal whodunit build upon effective suspense and visceral tension. You will be glued to the plot and feel the emotional rollercoaster experienced by David as he searches for his daughter. Chaganty has proven himself through demonstrable evidence that he understands suspenseful storytelling. Because the film exists in the everyday world we live in, it may get you thinking twice about the degree to which your own life is mediated by technology. The social commentary in the movie also reminds us to be ever vigilant who we correspond with through live video and chats. For you never know to whim you are really speaking.

If you’ve enjoyed this article, be sure to check out all my past ones! You can search for a film by title to see if I’ve written on it. Don’t forget to follow my blog by clicking the blue button in the upper left!

“Alpha” full film review

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Visually stunning! You’re missing out if you do not choose to see Alpha in IMAX this weekend. The experience of many movies does not significantly change between standard and IMAX screenings, in my opinion; but because of the sweeping landscapes in Alpha, you’ll certainly want to experience it IMAX. However, I do not recommend watching it in 3D. The advanced screening to which I was invited was 3D, and I feel strongly that the cinematography is better appreciated in 2D. Alpha is one of those films that flies under the radar because it is quite niche in nature. Ordinarily, I am just as excited to see the smaller films as the big ones; but this is even a film that I wasn’t thinking much about. The power of visual storytelling is felt in this film that is set shortly after the last ice age, for there is minimal dialogue. And the dialogue that is in the film, is found in the subtitles because the film is in an unfamiliar language. Neither the foreign tongue nor the subtitles take away from the film. In fact, the absence of English and the minimal dialogue enable the audience to focus on the action. If you’re a dog lover or simply interested in anthropology, then this is a film for you.

Alpha tells the story of how the wild dog (or wolf) became man’s best friend. Taking place at the end of the last ice age, a northern European tribe of men is making the arduous journey across the tundra to the sacred hunting grounds where the bison roam before the first snow. On his first tribal hunt, Keda, son of the chief, is put to the test to evaluate his ability to provide for himself and his family, and eventually his tribe. While he “leads with his heart more than the spear” as his father notes, he father believes that he will make the tribe proud. Following a tragic accident during the hunt, Keda’s father and tribe fear him dead and must return to the settlement before the blistering winter sets in. Waking from a coma on the side of a cliff, Keda is determined to make it back to his home. Facing a perilous journey, he must pull on all the lessons he learned from his father in order to survive the vicious frontier. Along the way, Keda encounters a lone wolf left for dead, abandoned by his pack, with whom he develops a friendship after many weeks, and both help each other, against all odds, remain alive in the treacherous wilderness.

If you can make it through the first act, then you will greatly enjoy this intense film. Thankfully the first act was edited in such a way that is does have a hook at the beginning, but the remainder of the first act is relatively slow compared to the rest of the film. Acts two and three, provide audiences with a gripping story of survival against the elements and unforgiving landscape. Diegetically, Alpha is pretty straight forward high concept plot that is simple to grasp. Survival. However, due to the simplistic plot, the film is able to dive deep into character development. Simple plot, complex characters. Much like with A Quiet Place earlier this year, Alpha is a testament to the power of visual storytelling. The juxtaposition between the vast open vistas, hills, and valleys and the intimate story between Keda and Alpha, is fantastic. Quite the contrast. The stories of Keda and Alpha parallel one another, as both were left for dead by their respective tribes. In the tribes’ defense, both were genuinely thought to be dead. Alpha must work though wild instincts to trust Keda, as Keda is working to rehabilitate Alpha; likewise, Keda must work through his own weaknesses to teach himself how to survive and trust Alpha. Overcoming adversity and establishing trust are themes through the story. Even though the end is predictable, your attention is still captured for the duration of the film to witness just how Keda and Alpha are going to survive. The ending does hold a surprise for the audience, and for the characters I might add.

For lovers of anthropology or our canine friends, this is definitely a film that you will enjoy. Although the film has a PG-13 rating for intense moments, I would rate it PG. The film also possesses an inspirational nature about it, because we have all found ourselves in the wilderness trying to survive. Maybe we haven’t been stranded in the unforgiving tundra, but metaphorically we have been there.

“The Meg” movie review

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They finally got a bigger boat. But, it’s still no match for the Megalodon! Maybe The Meg lacks the cinematic genius of Steven Spielberg’s Jaws and maybe it isn’t as thrilling as The Shallows and perhaps it doesn’t have the parody and satire of Sharknado, but good thing for you, it doesn’t pretend to be any of those. It proudly hits theatres everywhere this weekend as a thrilling larger than life creature feature horror film about a gigantic shark that wreaks havoc in the waters of southeast Asia until Jason Statham dives in to save the day. Another title for this shark movie of epic proportions could be Dive Hard (haha). With clear homages to Jaws, Deep Blue Sea, and Jurassic Park, this film plays out as an unconventional love letter of sorts to the aforementioned movies, and the man vs nature horror genre as a whole. Even though recent news suggests that Statham is unhappy with the theatrical we are getting (because it lacks much of the violence that was shot in order to keep a PG-13 rating), you are in for a fun time witnessing the aquatic carnage and high seas action. Movies like this one are designed for one purpose, to entertain you at the megaplex for a couple of hours during oppressively hot summer days of August. At the end of the day, The Meg is an exponentially more expensive SyFy Channel original movie with a fantastic lead actor who plays Jason Statham better than anyone else. But you know what, it’s a lot of fun to watch! Dive right on into the action this weekend.

After a deep sea submarine exploring the Mariana Trench is attacked and stranded by an unknown force, the chief researcher at a state-of-the-art underwater facility, bankrolled by an eccentric billionaire, contacts deep sea rescue diver Jonas Taylor (Statham). With time running out for the submarine crew, Jonas must overcome psychological obstacles from his past in order to lead the mission to rescue the team. Unbeknownst to the research team, they’ve encountered an unimaginable threat that makes its way from the deepest depths of the ocean to crowded beaches. The team must work together to stop the monstrous killing machine knows as the megalodon.

Filled with cliches and homages, director Jon Turteltaub clearly did not set out to direct a Jaws for 2018 nor did he set out to make a comedy like Sharknado, but he did create a fantastically fun shark horror movie that takes itself just seriously enough but still remains playful–as much as you can with a man-eating giant pre-historic shark. The scene with the helicopter flying through the islands to the research facility is taken right out of Jurassic Park. And it arrives at an underwater research facility that is taken directly from Deep Blue Sea, and then several shots and musical scores pay homage to Jaws throughout the remainder of the film. For all the tropes and cliches in the film, they are each executed strategically with wit and style. Statham is great as the hero, and I can think of few other actors who could have done such an excellent job with this film. Bruce Willis is honestly the only other name that comes to mind to have done the character justice. Comparing this creature feature horror film to the other big one this summer Jurassic World Fallen Kingdom, I can honestly that I enjoyed The Meg more. And that is hard to admit since I am a card-carrying member of the Jurassic Park fan club.

If you enjoy fun horror films, do yourself a favor and swim to your local cinema to come face-to-face with Megalodon. You may notice that this review is a lot shorter than my typical ones, and that is because some movies are just meant to be enjoyed for what they are instead of analyzing the storytelling and experience.

Checkout my retrospective on JAWS!

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