Dangerous Animals offers Nasty Twist, Brutal on Steven Spielberg’s classic

50 years ago, the public’s opinion on the ocean – in particular, changed the presence of sharks in it – forever with the release of “Jaws” by Steven Spielberg. Although shark attack films had been made for decades before Spielberg’s adaptation of Peter Benchley’s novel, these films tended to fall into the “exotic adventure” category, there are ie films about real -life characters or figures that traveled to far away lands and encountered dangerous wildlife there. “Jaws” brought the murderer shark right to people’s doorstep (something “Saturday Night Live” referred to him in a literal way), conveying that the threat that the animals caused was not downgraded to distant shores. Whether or not this creative decision was irresponsible in informing the public of actual shark behavior next to the point; “Jaws” never claims to be a fact -based documentary, but simply a horror/adventure thread, and it is a great one torn in that.

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Yet, given the stationary subdivision of the shark attack film that made “Jaws” continually popularly made, the film may be owed to the poor shark-at least, perhaps another film might try to rectify the balance between an animal that follows its nature and the much more milky (and deliberately murderous) beast known as a man. While many stories compare human beings with animals with the intention of noting that the real monsters are humans, a film that specifically does this within the Subgenre shark attack is “dangerous animals” this summer. Sean Byrne’s film, written by Nick Lepard, is a grip, tension and annoying on the serial killer film, one that hits all expected beats in a satisfactory if stereotypical fashion. What makes “dangerous animals” unique is how it perverts ropes the shark attack movieand especially how it refers those ropes as established by “Jaws,” Turning the film into a dark mirror of Spielberg’s classic.

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Throughout the tradition of man’s parables against nature, the archetype of the great hunter’s character, which is apparently, has a great deal of experience and authority over the kingdom of the animals. Quite often, this figure becomes the victim of their own humiliation, becoming a prey when they have lived for as long as they are the predator. (Think about actor Bob Peck’s undertaking on Robert Muldoon in “Jurassic Park,” Spielberg for example.) Sometimes this depression occurs through simple arrogance, but at other times it is the result of the obsession with their quarry, Trope populated by Captain Ahab in Herman Melville’s “Moby Dick.” “Moby Dick.” In “Jaws,” Quint’s character (played by Robert Shaw) is an Ahab type. A Quint obsession with the shark appears to go back to his experience surviving the sinking of the USS Indianapolis during World War II, where he and other sailors were forced to fight with charced infected waters while escaping their boat.

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In “Dangerous Animals,” Tucker (played by Jai Courtney) has a back -to -a -resembling back -back back, in the sense that he was famous surviving a cruel shark attack when he ran away as a boy. Like Quint, he still has the scars for testing, and happy showing them to tourists who order his boat to go to sharks in a scene off the Australian coast. However, where the Indianapolis Quint experience enters a lifelong grievance with the shark, Tucker begins to align himself with the shark instead, considering both of them loners, survivors, and – most annoying – natural predators, part of what Tucker allows to help justify his secret life as a serial killer. Although a tucker generally adheres to the large hunter archetype, it is a dark reflection of the trope, making it not as not as the advanced of the animals, but as their equal.

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The other part of Tucker’s internal justification over his murders is that, in his mind, does not actually kill anyone. His Modus Operandi is to grab his victims up to crane and immerse them into the ocean after deceiving the waters, making sure a hungry shark will come over to get his victim for lunch. It is this aspect of “dangerous animals” that gives some interesting color to her serial murderer story and her shark attack heritage a nasty, cruel turn. While many tucker practices can be seen in many serial killer films – the man kidnaps his victims, in their drugs, holding them in a locked department in his boat, and keeping a souvenir of their deaths to enjoy and re -live later – his method of murder is relative to far fewer ancestors. The nextest relationship with Tucker would be Stuntman Mike (Kurt Russell) of “Death test” Quentin Tarantino, “ Featuring an entire “psycho” scene from an authority figure explaining how Mike’s car is his favorite weapon. Therefore, sharks are a tucker version of a knife, chainsaw, or more traditional murder operation.

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As rare as this plot component in the serial killer film, it is even rarer in the shark attack film. While there have been murderer shark films certainly paying lip service to the reality that sharks are not a pre -reflection, reflection murderers, most murderer shark films depict the animals as cold and ruthless monsters that are almost annoying. This picture can be traced back to “Jaws,” which turned the large white shark into an almost supernatural creature, for deliberately for reasons (to pump the horror and suspension) and necessary (to get around the mechanical shark of the production not working). “Dangerous animals” seeks to remove responsibility from the murderer shark, using their dangerous but not malicious nature as a point of comparison with the cognitive evil of Tucker. The film’s reef on “Jaws” is not only supplementary, but intentionally. As Byrne says within the official press materials of the film:

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“… the more I thought of it, the more exciting I had the opportunity to make a shark film where the shark is not the obvious antagonist. I thought that if ‘Jaws’ turned the shark into a monster then this could be the long film to correct the cruel misconception by pointing the finger to the real monster: man.”

Byrne’s film achieves this goal by not only introducing the difference between the nature of an animal and the selection of a man’s murderous, but by using the character of the last girl of Zephyr (Hassie Harrison) as a much closer human analogue with the actual behavior of a shark. Ironically, although it makes the shark a little less scary, it only increases the fear of men who could try to use those sharks – or anything in the natural world – for the purposes of non -way. Only when you thought it was safe to go back in the water, indeed.

“Dangerous animals” strikes theaters on June 6, 2025.