If you recall (the criminally underrated) Back to the Future II (1990), you may remember a “future” scene set in 2015, wherein hero Marty McFly (Michael J. Fox) sees the holographic shark for Jaws 19 and declares that it the creature still “looks fake.”
In fact, the sharks of Shark Night not only look incredibly fake – just a step or two up from Jabber Jaw -- they also act in most un-shark-like fashion throughout much of the film, often leaping high out of the water (like…twenty feet out of the water…) to swallow their cowering human prey. In one of the movie’s least effective kill scenes, a shark intercepts a racing jet-ski …from the front, no less…and leaps several feet out of the water to do so. On this occasion and several others, director David Ellis lets the shark hold center frame as it leaps towards the screen (for 3-D impact), thereby offering extreme evidence of the animal’s incredible phoniness.
Shark Night earned pretty terrible reviews, and studying these special effects sharks, one can detect why. That established, I must reluctantly admit I didn’t hate this nearly as much as I thought I might, and that’s because the film unexpectedly plays around in the terrain one of my favorite sub-genres: the savage cinema. In keeping with that form, the film acknowledges human ugliness as the overriding source of real evil in the world. In other words, we might escape sharks, but we can’t escape human nature.
Back when they were going steady, Sara began to drown on a dive and Dennis wouldn’t share his air with her. Panicky, she made it back to the surface alive, but when she piloted the boat for home, she accidentally struck Dennis’s face with the boat propeller, permanently scarring him.
Lacking suspense, Shark Night is abundantly predictable. If you’ve ever seen a horror movie, you can predict -- down to the last person (and animal) -- the characters destined to survive the film’s bloody events. Also, Joshua Leonard’s character Red is a walking talking cliche, right down to his bad teeth and bad Southern accent. He’s supposed to be the movie’s comic relief, but again, we’re in cartoon territory here.
The special effects in Shark Night are bad, the characters are mostly barely two-dimensional appetizers, and there’s precious little in terms of interesting narrative. Yet to his credit, director Ellis seems to know all this is the case, and at times (like during the road trip to Lake Crosby), literally fast-forwards the film so he can get to the meat of the drama – the shark attacks – quicker.