The Movies, Films and Flix Podcast – Episode 576: Dark Angel, I Come in Peace, and Dolph Lundgren
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Mark and John (@MFFHorrorCorner on X) discuss the 1990 science fiction action film Dark Angel (AKA I Come in Peace). Directed by Craig R. Baxley, and starring Dolph Lundgren, Brian Benben, Betsy Brantley and a deadly space gun, the movie focuses on what happens when Dolph Lundgren battles intergalactic drug dealers (it’s amazing). In this episode, they also talk about underrated action films, spin kicks, and Dolph Lundgren’s best performances. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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John’s Horror Corner: The First Omen (2024), a “pretty good” installment to the franchise.
MY CALL: This was a solid horror movie from writing and acting to strikingly impactful visuals. I enjoyed it—it just feels a bit longer than it needs to be. MORE MOVIES LIKE The First Omen: For more Omen antics, the original The Omen (1976) and the sequels (1978, 1981), along with the remake (2006) are all good choices..
Father Brennan (Ralph Ineson; Game of Thrones, The Witch, Intruders) seeks the venerable Father Harris (Charles Dance; Game of Thrones, Dracula Untold, Pride and Prejudice and Zombies, Patrick: Evil Awakens, Underworld: Awakening) for information about a young, devoted woman who became pregnant by unnatural means, and whose now teenage daughter has others waiting with dark intentions for her to come of age. After sharing this story, Father Harris comes to the very kind of Final Destination death we first saw in The Oman (1976). The effects are sound, and the gore is slick yet shocking.
In 1971, a young American nun-to-be, Margaret (Nell Tiger Free; Game of Thrones) arrives in Rome, Italy to a convent that caters to mothers-to-be and serves as an orphanage for girls. She quickly takes notice of a quiet, troubled girl (Nicole Sorace) who makes provocative drawings, and is often punished in isolation for her behavior. Margaret is warned of this young girl. As Margaret investigates the girl’s history and origins, many who have been in contact with her come to horrible, deadly ends.
Frightening jump-scare nun imagery may conjure playful sentiments of The Nun 1-2 (2018, 2023). But this film boasts much more than just jump-scares. Among such horrific offerings is a very graphic, very disturbing birth scene! There is gruesome, gory imagery, and the iconic “it’s all for you” self-sacrifice scene is re-conjured with an immolation. Many of these death scenes are re-imaginings of those of 1976. Then there’s yet another birth scene more reminiscent of Possession (1981), complete with milky and bloody fluids and possessed convulsions, rolling into a very graphic C-section.
While quite satisfying, the film is longer than it needs to be. But overall, I find this film quite well-made, usually decently paced (with some lulls here and there), and effectively creepy atmosphere. We also enjoy a small role by Bill Nighy (The Phantom of the Opera, Shaun of the Dead), and the plot adds a few new details to the classic paradigm of birthing the Antichrist to rule the world that kicks off the original story.
This story ends transitioning to the very beginning of the 1976 (or 2006) story. So my next stop will be revisiting the 2006 remake, and then starting back at 1976 and moving my way through the sequels. Director Arkasha Stevenson (Brand New Cherry Flavor, Channel Zero) fared well here.
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Sing Sing (2024) – Review
Quick thoughts: Grade – A – Powered by excellent performances from Colman Domingo, Clarence “Divine Eye” Maclin, and Paul Raci, Sing Sing is a vulnerable piece of filmmaking that will be a major player come awards time.
Based on a true story about the Rehabilitation Through the Arts (RTA) theater program inside New York’s Sing Sing Correctional Facility, Sing Sing can best be described by actor Colman Domingo who calls it a “beautiful hybrid imbalance that’s kind of meta, but then there’s narrative, it’s real, but it’s not real.” Filmed over the course of 19 days inside decommissioned correctional facilities, and featuring men who participated in the RTA program (which gives it a welcome authenticity), Sing Sing is a movie about how opening yourself up to others and being vulnerable isn’t as horrible as society has led us to believe. There’s something very refreshing about a film that is very specific, but also deals with themes (dealing with anger, hope, mental health, rehabilitation, masculinity) that will resonate with viewers. It’s also nice that the typical prison movie cliches (evil warden etc…) are ignored and instead the film is focused on the humanity of the characters.
The lead character in Sing Sing is John “Divine G” Whitfield (Colman Domingo), a well-respected member of the RTA who is part of the guiding committee and an aspiring playwright. Whitfield and his friend Mike Mike (Sean San José) also help recruit for the company and they set their sights on Clarence “Divine Eye” Maclin (playing himself), a natural thespian and creative type who has buried that aspect of himself and accepted that he’ll spend the remainder of his days in prison — where he feels the most comfortable. Things get unwelcomely complicated when the company decides to tackle their first comedy after years of Shakesperian dramas and downbeat plays that have become a bit stale. The play involves time travel, mummies, cowboys, gladiators, and Freddy Kreuger (played for some big laughs) pushes the group out of their comfort zone as they attempt to understand the time travel logistics and deal with the difficulty of making audiences laugh (comedy isn’t easy).
One of the best things to come out of the film is the friendship between Whitfield and Maclin. The two men are completely different, but they’re good for each other because they see through each other’s weaknesses and show loyalty when it’s most needed. Their unique and evolving bond helps them overcome grief and feel hope for the future when everything seems lost. The friendship gives the film a beating heart and provides an acting showcase of Domingo and Maclin (who I hope get a lot of award’s recognition).
Director Greg Kwedar (watch Jockey now) excels at creating intimate situations that feature characters dealing with broken pasts and uncertain futures. He’s been working on this film for eight years and after reading an Esquire article about the RTA’s two night performance of Breaking the Mummy’s Code, he decided to focus on the moment in time when the RTA group prepped for the absurd comedy. After many meetings with RTA alumni and instructors, Kwedar and co-writer Clint Bently became teachers in the program and taught acting classes at Green Haven, a maximum security prison. It’s because of their teaching experience and years of interviews that Sing Sing feels so authentic and mature.
I know I’ve already mentioned it several times, but Domingo, Maclin and Raci really are excellent and they deliver lived-in performances that are equal parts raw, emotional and introspective. After Zola, Rustin, Euphoria, Selma, The Color Purple, If Beale Street Could Talk and now Sing Sing, I’d love to see Domingo win an Oscar because he’s one of the best actors working today.
Final thoughts – Watch it in theaters and get lost in the performances.
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The Movies, Films and Flix Podcast – Episode 575: Unlawful Entry, Classy Thrillers and Yuppie Kurt Russell
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and John discuss the 1992 thriller Unlawful Entry. Directed by Jonathan Kaplan, and starring Kurt Russell, Ray Liotta, and Madeleine Stowe, the movie focuses on what happens after “a burglar holds a knife to Karen’s throat while her husband does nothing (the IMDb synopsis is insane).” In this episode, they also talk about class thrillers, Kurt Russell, and the excellence of Ray Liotta. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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John’s Horror Corner: Amityville 1992: It’s About Time (1992), this 6th Amityville Horror movie is… a watchable bad movie.
MY CALL: Yet another not-really sequel to chum the bad movie waters. But this was definitely not unwatchable at all. I enjoyed it for its badness. I just wish there was more in the way of passable horror effects. MORE MOVIES LIKE Amityville 1992: Uhhhhhh, when it comes to Amityville sequels, I’d stick to Amityville II: The Possession (1982) and otherwise tread carefully into the depths of the extended franchise. Part II has all the dumb fun you’re looking for with great pacing, but Amityville 3-D (1983) and Amityville Horror: The Evil Escapes (1989) are both boring slogs. Definitely skip The Amityville Curse (1990), the worst of the first five Amityville movies. Amityville Dollhouse (1996) is a solidly fun bad movie, but it truly has nothing to do with Amityville (it is neither sequel nor spin-off, it just has a similar theme and uses “Amityville” in the title for literally no good reason).
I’m pretending that The Amityville Curse (1990) didn’t happen. So, after the slaughter of now two different families, a botched paranormal investigation and exorcism, and a cursed yard sale lamp (from the house) shipped to California to raise Hell, we have another cursed antique from the Amityville house. So, I’ve gotta’ ask, was this clock from the same yard sale as that lamp from Amityville Horror: The Evil Escapes (1989)!?!
Returning home from a business trip, Jacob (Stephen Macht; Graveyard Shift, Trancers 3-5) brings an antique clock to accent his living room. In case the title of the movie didn’t give it away, the movie makes sure we know it was from the original Amityville house just before it was torn down. The clearly bewitched clock literally drills itself into place, as if to anchor into its new haunt. But the first thing the clock seems to affect is the neighborhood dog, which ends up hospitalizing Jacob after a violently bloody attack.
Conveniently, Jacob’s on-and-off-again ex-girlfriend Andrea (Shawn Weatherly; Shadow Zone, Love in the Time of Monsters) was around, and now she’ll be reluctantly taking care of him during his painful recovery. Jacob pressures her to get back together, his kids Lisa (Megan Ward; Crash and Burn, Trancers 2-3, Arcade) and Rusty (Damon Martin; Ghoulies II) reconnect with Andrea, and we begin to see more influence of the clock’s presence, which seems to distort space and time, but not in any interesting way.
The special effects are, well, not great. There’s a door-slam and we see the wire pulling the door clear in the shot. There’s some mucky thing under some bedsheets that I cannot explain and it doesn’t even lead to anything, a muck-bleeding mirror that I cannot explain and it doesn’t even lead to anything, a weird hallucination (by Andrea’s current boyfriend) that I cannot explain and it doesn’t even lead to anything, and Lisa becomes possessed and apparently filled with incestuous lust… it’s all dumb and empty. Meanwhile, Jacob (a corporate architect) begins to obsess over his housing development project, scribbling sketches of the original Amityville house and behaving erratically.
The one effect that got me to want to watch this (from screen grabs shared on social media) shows a teen boy essentially melting into a goopy puddle on the floor. It’s pretty gross and rather entertaining. If only more scenes could have been so worthy. That was exactly the kind of gross horror scene I’d expect from director Tony Randel (Children of the Night, Hellbound: Hellraiser II, Ticks). But I guess the budget only allowed for so much.
This movie is really bad. But I didn’t mind watching it. Truly, the odd relationship dynamic between Jacob and his kids with his ex Andrea, and then with Andrea’s current boyfriend (Jonathan Penner; The Bye Bye Man, Jason Goes to Hell) and Jacob and his kids, and then the psychic lady (Nita Talbot; Puppet Master II) down the street was all just entertaining enough for me not to regret this movie.
I’m not sure what the clock wants. What is its motivation? Jacob says it’s all about power, and not Hell. No clue what that means. But Jacob slipped into homicidal madness with his gnarly evil-infected bite wound.
The ending is dumb, but not completely unsatisfying. I’m not recommending this. But I also won’t warn you away from this if you’re looking for an entertaining bad movie night.
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Movies, Films and Flix Podcast – Episode 574 – Lisa Frankenstein, Diablo Cody, and The Cure
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Zanandi (@ZaNandi on X) discuss the 2024 horror comedy Lisa Frankenstein. Directed by Zelda Williams, and starring Kathryn Newton, Cole Sprouse, Liza Soberano, and a deadly tanning bed, the movie focuses on what happens when a gentlemanly zombie and a teenager cause some chaos. In this episode, they also talk about Diablo Cody’s screenplay, Carla Gugino, and the excellence of Liza Soberano. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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John’s Horror Corner: Pearl: An X-traordinary Origin Story (2022), the prequel story to X (2022).
MY CALL: This film is a fine character study, and Mia Goth gives the performance of her life (so far). Still, this film titillates far less than its predecessor. I admire what was done here, but I don’t really see myself returning for subsequent viewings. MORE MOVIES LIKE Pearl: Well, hopefully you’ve already seen X (2022), which occurs in 1979 long after the events of Pearl. And then move on to Maxxxine (2024).
Mia Goth (X, Infinity Pool, Suspiria, A Cure for Wellness) portrayed both Pearl and Maxine in X (2022), a very pleasant surprise for movie fans. Swiftly becoming quite the horror icon, Mia Goth reprises her elderly role with the youthful prequel story of Pearl, now also as a co-writer. Director and writer Ti West (X, The Innkeepers, House of the Devil, The Sacrament) has clearly found his muse and favorite colleague in Goth, as this would be the second of his X trilogy starring Goth (with Maxxxine to follow).
Such a strong start! Down to the classic scoring and on-screen font of the opening credits, this film begins with purity, innocence, and the wholesome feels of a 30s to 40s-era family film. Even when the cinematic rug is briefly yanked from beneath young Pearl’s feet by her draconian German mother (Tandi Wright; Alibi), the bright technicolor and timely music persists as she practically wishes upon a star to escape her family farm and find fame. A perfect, stable ziggurat-staircase of haystack allows her to strut to the top as if in a Broadway musical, and the timely arrival and bloody fate of a goose harbingers the change in tone to come.
Safe at home in 1918 while her husband (Alistair Sewell; Bad Behaviour) is away at war, Pearl helps tend to the farm chores, caring for her invalid father, and dreaming of motion pictures. She swoons scarecrows with musical numbers, fantasizes physical affections, and enjoys a curiosity in the macabre. As Pearl yearns for fame and love, she seems to be living an adult fairy tale with a wicked, disapproving mother.
In her rebellious journey, she frees herself of her abusive mother. As Pearl finds a lustful love (David Corenswet), we come to find her true madness within. She is sociopathic, generally disturbed, obsessive, and overwhelmed with a sense of inadequacy.
The violence includes a healthy dose of bloody farm-implement stabbery and some horrible moist burn wounds. While a few scenes are quite brutally graphic, this is overall less horror-ish in tone than X (2022), with a more limited sense of dread. Instead this film focuses on the exploration of Pearl, the character who we meet in her venerable years in X (2022).
I’ll hand it to Mia Goth, she does crazy fantastically. Manic, hysterical, sociopathic, lovelorn… she nails them all. This was an impressive film experience. But I’m not sure I’d recommend it, whereas I strongly recommend X (2022).
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The Movies, Films and Flix Podcast – Episode 573: Skinamarink, Jerky Demons, and Experimental Horror Films
You can download or stream the pod on Apple Podcasts, Tune In, Podbean, or Spreaker (or wherever you listen to podcasts…..we’re almost everywhere).
If you get a chance please make sure to review, rate and share. You are awesome.
Mark and Lisa discuss the 2022 experimental supernatural horror film Skinamarink. Directed by Kyle Edward Ball and starring two kids, a jerky demon and a toy phone, the movie focuses on what happens when a jerky demon decides to play a horrible game with two kids. In this episode, they also talk about experimental horror, disappearing toilets, and 2022 horror films. Enjoy!
If you are a fan of the podcast, make sure to send in some random listener questions (we love random questions). We thank you for listening, and hope you enjoy the episode!
You can download the pod on Apple Podcasts, Tune In, Podbean, or Spreaker.
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MY CALL: If you’ve never seen or heard of this movie, make this a priority. This is a goulash of 80s Sci-Fi action influence and a pinata of crazy enjoyment mixing slick drug dealers, alien drug dealers, and cop flick one-liners. MORE MOVIES LIKE Dark Angel: For another cop vs alien movie in which the cop doesn’t know he’s hunting an alien, try Split Second (1992). Maybe also consider Screamers (1995).
Director Craig R. Baxley (The A-Team, Action Jackson) seems to be responding to Die Hard (1988) with his own Christmas action movie as a businessman crashes his car into a Christmas tree lot in the city. Meanwhile, a bunch of criminals sporting welding torches spelunk elevator shafts and air vents just like Bruce Willis and those Germans did a few years prior. Only instead of the giant blonde Viking Karl Vreski we have the alien Talec (Matthias Hues; No Retreat No Surrender 2, Kickboxer 2), and instead of Bearer Bonds we’re heisting stacks of cocaine from the police evidence room with Christmas music playing in the lobby. Even the movie poster smacks of Die Hard (1988) more than just a bit. And did I mention Al Leong (Die Hard, Big Trouble in Little China) is in this, too?
Detective Caine (Dolph Lundgren; Red Scorpion, Rocky IV, Skin Trade, Universal Soldier) gets caught between two crimes happening at once: an armed robbery and an undercover drug sting. While Caine handles the gunmen in the robbery, his undercover partner is murdered by a team of no-nonsense cop-killing criminals in slick suits. But before Caine can respond, a giant white-eyed alien launching a Batman Returns (1992) meets Krull (1983)-bladed frisbee-battarang thing slits the throats of many drug dealers and… takes all the heroine for himself? Caine’s ex happens to be the coroner Diane (Betsy Brantley; The Princess Bride, Deep Impact, Double Jeopardy), and she is baffled by the wounds at the crime scene. I also suspect they deliberately cast someone who looks like Linda Hamilton from The Terminator (1984) down to the hairstyle. After all, it seems like every major Sci-Fi action movie that ever was or will be is echoed in at least some small part in this glorious mash-up.
Forced to team up with the FBI, Caine and special agent Smith (Brian Benben; Dream On) begrudgingly work together to apprehend who they reasonably presume to be more criminals while Talec forcibly overdoses victims on heroin and then sucks out their dopamine-rich brain juice with an effect much like the brain bug in Starship Troopers (1997) using his weaponized bracer like in Predator (1987). And speaking of Predator, Talec’s size, roaring (at minute 73), and tossing around of an otherwise large-muscled Germano-slavic hero also feels distinctly modeled. It’s easy to see what movies influenced this. But did this influence the remote battarang in Batman Returns (1992), or the brain bug’s rostral brain juice straw???
But wait, there’s more. Another giant alien (Jay Bilas), this one balding but with dark long hair and matching white eyes, arrives in a manner reminiscent of the Terminator movies, disintegrating matter in its path of arrival. The brunette alien is here to hunt down the blonde, and seems to be willing to apprehend him at any destructive cost necessary. The whole bad alien hunted by the good alien feels like the Critters (1986) dynamic between the Crites and the Bounty Hunters, or like in The Hidden (1987).
Diane, Caine and Smith are coming to learn that their perp has access to dangerous technology, kills people with heroin, shoots explosive bullets with horrible aim, is even bigger and stronger than Dolph Lundgren, bleeds cottage cheese (maybe an Alien(s) android or Predator nod), and is being chased by the brunette giant alien. Meanwhile, Caine is also being hunted by the criminal syndicate that thinks he stole their heroin! THIS. IS. WILD.
Truly, this is such a super fun movie, and it holds up shockingly well among 80s action movies. The fighting, violence, explosions and effects are all up to snuff. Despite the typical eye-rolling tropes, this is decently written, acted, produced and directed. I love this movie. It may be second tier to the likes of The Terminator (1984), Predator (1987) and Total Recall (1990), but it still deserves a lot of love.
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When it comes to ranking shark films the clear #1 is Jaws. It’s not even close because the movie is an all-timer that features some of the most iconic movie moments of all time and is one of the few horror films to be nominated for Best Picture. Any “Best Shark Movie” list only gets interesting when it comes to picking the second best shark movie as Deep Blue Sea, The Shallows, Under Paris, Jaws 2, The Reef, Open Water, and The Meg all have sound arguments to be in the #2 spot.
Since Jaws makes it almost impossible to make an interesting “Best Shark Movie” list. I decided to analyze 15 theatrically released shark films (and Under Paris because it’s awesome) to see which shark movie features the most shark carnage and screen time. Basically, I wanted to know which shark movie is the MOST shark movie.
Quick Note – If you’ve followed my data posts since 2017 you’ll know that I love Deep Blue Sea and have written many articles about it. I also started Deep Blue Sea – The Podcast in 2020 and I think you should listen to it wherever you listen to podcasts. That being said, I had no idea which movie would be the “Most Shark Movie” and would’ve been totally fine if DBS lost to Jaws 2, The Shallows or The Meg because I love them all.
Here are the five things I examined:
- Amount of shark screen time – The shark has to be alive (the dead Megalodon in The Meg doesn’t count) and I counted the time of the entire scene in which the shark is featured. There are moments when the camera cuts to a reaction shot of a human and then back to the shark. I counted it all.
- How long until we see the entire shark. In Deep Blue Sea, the ~first full sighting of a shark~ occurs at 3 minutes and 28 seconds. It’s quick! Renny doesn’t mess around.
- First Attack – ~The first attack in~ ~Jaws~ ~happens at the 4:05 mark~
- Longest time gaps between shark sightings – In Jaws 2, there’s a 45-minute gap between the first full shark sighting and its next appearance.
- How many 10-minute gaps are there between shark sightings?
*Quick Note – I considered a “Most Kills” category but I didn’t want to penalize movies like Open Water and The Reef for having relatively low body counts because they aren’t that kind of shark movie.
I created a ranking system to see which theatrically released shark movie is the MOST shark movie. The movie with the lowest amount of points wins because it typically ranked #1-3 in every category.
I chose to leave movies like Ghost Shark, Sharknado, Tintorera, Black Demon, and Shark Bait (which I’ve all watched) because it opens a vast world of shark movies that differ in quality.
Fun quotes
- “My whole approach to this movie was no more hiding sharks. This time you’re going to really see them.” Renny Harlin – ~DBS extras~ (fun BTS doc about how they made the sharks).
- In the wet labs, there’s an incredible long scene where the shark is basically there in broad daylight for many mand pages of dialogue – Walt Conti (~same DBS shark BTS doc~)
- “Yes! It does look like a Mako Shark! Congratulations! And even got the teeth right. Good job people!” – Marine Biologist ~Melissa Cristina Márquez during a Marine Biologist Breaks Down Shark Scenes From Movie GQ video~
The overall winner is Deep Blue Sea because the sharks have almost 27 minutes of screen time and play a major role throughout. Movies like Open Water (divers are left behind while scuba diving and have to deal with sharks), The Reef (A boat sinks and characters have to deal with sharks) and 47 Meters Down (a shark cage sinks and the characters have to deal with sharks) introduce sharks as hurdles to deal with. In Deep Blue Sea, the sharks are front and center as they drive the plot and use a gurney (with Stellan Skarsgård attached to it) to flood a large chunk of the Aquatica facility.
Director Renny Harlin has always been open about how it pays homage to the Jaws (license plate, similar shark kills) and Jurassic Park (genetic modification, Samuel L. Jackson is eaten, separated arms, clever animals, big rainstorms, kitchen fights) franchises, and he made sure to follow their footsteps by creating a wonderful summer blockbuster that pulled in $165 million during the loaded 1999 summer. It’s the type of film that makes it impossible to say something like “It needed more shark action” or “The trailers were misleading. I thought there would be more sharks.” For better or worse, Harlin loaded the film with sharks and I love him for it. I’m happy that this data backs up what Brian Raftery wrote about for Wired in 2017 (~Forget Jaws. The Real Shark Movie to Beat Is Deep Blue Sea~)
Here’s a quick timeline of DBS to prove how much shark action there is (Timestamps were pulled from my digital copy)
- 00:02:38 – Gen-1 shark attacks a boat
- 00:03:28 – We see the entire Gen-1 shark
- 00:07:15 – Tiger Shark is lowered into a holding area
- 00:09:10 – Carter Blake takes a license plate out of its mouth
- 00:11:10 – silhouette of the giant Gen-2 shark
- 00:13:18 – Sharks are seen swimming around
- 00:18:00 – The tiger shark is eaten
- 00:19:28 – During the surprise party and the following conversations the sharks are swimming around in their cages
- 00:25:88 – 00:34:28 – Lots of shark action
- 40:45 – Gen-2 shark uses Jim’s gurney to destroy wet lab
- 47:00 – Gen-1 shark enters the Aquatica
- 51:30 – Gen-1 shark chases Preacher and a shark fight ensues
- 57:00 – Preacher blows up a Gen 1 shark
- 01:00:10 – Samuel L. Jackson is eaten by the gen 2 shark
- 01:06:46 – Gen-2 shark kills janice
- 01:13:45 – Random shot of a shark fin
- 01:17:00 – Gen-2 eats Scoggins
- 01:21:00 – Dr. Susan battles and kills a Gen 1 shark
- 01:27:00 – The Gen-2 bites Preacher and gets stabbed in the eye with a crucifix
- 01:33:30 – Gen-2 eats Susan
- 01:35:50 – Gen-2 shark blows up
It’s worth noting that the shark films ranked 11-15 have a higher Tomatometer, IMDb, and Letterboxd averages than the films ranked 1-5. So, being the MOST shark films isn’t always ideal.
11-15 ranked movies – Shark Night, Open Water, The Reef, 47 Meters Down, Jaws
- Tomatometer Average – 63.8
- IMDb Average – 5.88
- Letterboxd Average – 2.92
1-5 ranked movies – Deep Blue Sea, Meg 2: The Trench, The Meg, Bait 3D. 47 Meters Down: Uncaged
- Tomatometer Average – 44.4
- IMDb Average – 5.36
- Letterboxd Average – 2.34
Here are three highest ranked film in each category.
Conclusion – Jaws is the best shark movie and Deep Blue Sea is the MOST shark movie.
Movies, Films & Flix 