In the weekend edition of Reel Love, I review a popular movie I have never seen (because I believe reviews are simply more enjoyable to read when you’ve seen the movie). This week: “Jaws.”
4.5/5 stars

I spent my childhood in the San Francisco Bay Area with two avid scuba divers as parents. In an attempt to keep my sister and I unafraid of the ocean, movies involving underwater danger were strictly prohibited. From “20,000 Leagues Under the Sea” to “Jaws,” films depicting aquatic peril were never played in the Ryan household. I’m surprised I was even allowed to watch “Flipper” on Saturday mornings. But this past weekend, that all changed as I rebelliously watched Steven Spielberg’s shark-infested blockbuster, “Jaws.” Cue the ominous John Williams shark music: DUH-duh, DUH-duh-DUH-duh …
Although “Jaws” is widely considered to be one of the first “summer blockbusters,” the movie bears little resemblance to many of the Michael Bay or Jerry Bruckheimer projects that we currently associate with the term “blockbuster.” Yes, “Jaws” is thrilling (at times terrifying) and has all the action and excitement we expect in a blockbuster. But unlike many of the big-budget action movies being produced today, “Jaws” feels carefully and beautifully crafted. The casting is spot-on, the dialog is just fantastic and the setting feels much more lived-in than the typical computer-enhanced backdrops we get today. In fact, you could have told me the first hour or so belonged to a Hitchcock film and I would have believed you.

What I truly appreciated about “Jaws” was that the actual monster of the film had an incredible (and creepy) presence without needing a very strong visual presence. We hardly even see the beast until the very end of the film (and by then, the added suspense makes its appearance that much more terrifying). When the Great White is shown, it is often seen as a foreboding silhouette or viewed through cloudy water and bubbles (and blood). I wish more scary movies followed this example. By making intelligent cinematography and editing decisions, the filmmakers achieved just as much (perhaps more) as if they would have relied on high-tech special effects. Not only does this enhance the overall thrilling nature of the film, but it makes it much more timeless. The shark itself is the weakest part of the film, visually (and it’s still flat-out awesome), but it is shot in ways that are flattering and that prevent the technology from becoming too dated.

I don’t want to give too much away if there happens to be anyone out there that has yet to see this movie, but let me say one last thing.

I typically don’t find movie explosions that exciting. They are just overdone to the point of meaninglessness. BUT, I’m going to make a bold statement here. There is an explosion at the end of this movie that is quite possibly my favorite on-screen explosion of all time. And yes, that all-time greatest explosion list includes Luke Skywalker blowing up the Death Star. The “Jaws” eruption simply blows them all out of the water.

Up next on Reel Love: This Thursday, check out my review of “Big Man Japan,” the next film in the Campus Film Series. Then for the weekend edition, prepare for a sob fest (so I’ve been warned) as I watch “Dances with Wolves” for the first time.