When I first saw the trailer for ‘Looper’ at WonderCon I was blown away. With an impressive cast and a great concept this is one of the movies I have been looking forward to most this year. We now have a second trailer that sheds a bit more light on the plot of the movie.

Face your past and fight your future on September 28th.

Since his outstanding debut with Attack the Block, Joe Cornish has been searching for his next project. Now it looks like he’s finally found it.

Cornish has signed on to write and direct the film adaptation of Neal Stephenson’s Snow Crash, the dystopian cyberpunk classic about a sword-wielding pizza man trying to save the world from a computer virus.

Paramount has been trying off and on to get the film made almost since the novel’s 1992 release. Will Cornish be the man to finally realize the cinematic vision?

Allow it!

Last week, our beloved Saint Mort asked me how I felt about the movie Predator. Not knowing the intention of the question, I responded with, “It’s the feel good movie of the century!” Because of that response, I am now writing this article. So, you best read it and like it, ’cause doing so will make you a god-damned sexual Tyrannosaurus, just like me.:

This Tuesday, June 12, 2012, Predator, the original film starring Arnold Schwarzenegger, Carl Weathers, and Jesse Venture, turns 25 years old! That’s right, the movie that stars two former governors, has now reached the age at which it can legally run for public office. Let that settle in for a moment. Also, if you haven’t watched the movie before, stop reading and do so. Now. After experiencing its 104 minutes of gloriousness, return to this page. I can wait.

You’re back? Great! Let’s get down to this.

Although I wasn’t yet alive when the film was original released (I turned 24 on Friday), and to be completely honest, I don’t believe I saw the movie in its entirety until I was 9 or so (and as my brother reminded me this morning, I still have yet to see the first sequel, Predator 2, but from my understanding I am better off), it is one of my favorite movies. Additionally, I have made certain to watch it several times this week, to capture the spirit of the film in this write up–and I will let you know that my bond with the species known as Predators goes back long before then and continues now. So while I may only be able to reflect on the film proper for 15 years, my relationship with the franchise goes back almost to as far as its own history does. Take a walk with me down memory lane …

Who’s the ugly motherfucker?  Is it you? Yes it is! Coochiecoochiepleasedon’thurtme

When talking about Predator, you almost always think of Alien in the subsequent thought. Although the two universes were initially created independent of each other (with Alien having almost a 10 year prior history), they are now intertwined. In my experience, however, they were always synonymous with each other (and it wasn’t until I finally re-watched Alien about eight years ago that I realized this wasn’t always the case) and I had always preferred Predator, even though it was my understanding more people prefer the Alien franchise. Am I just being contrarian or is there more to it?

I have always been an action movie person, with little-to-no tolerance for horror films. However, while Alien may be a horror film in the purest sense, the subsequent films in the franchise are heavily geared towards action, so to base it on that alone would be wrong. And while it is true that I do enjoy preposterous amounts of testosterone,  to deny Ripley her badassery would be a sin I dare not commit. So what is it about Predator that earns its place as first in my heart? For that answer, we will have to go back to when I was a wee tyke and did not yet know what the hell a Predator was.

But seriously: shaving without even a trace of stubble? That’s manly!

Now, I am the youngest in my family, and my brother who is 4 years my senior takes great pride in his role of how I was raised. He saw his role as my older brother to be tantamount to being my life teacher. Although some of the lessons were harder than others, he claimed it was all in an effort to make me “stronger”. A sentiment he proudly proclaimed to our mother when one time she watched him pin me down and force me to drink Tabasco  sauce, which my young palate had not yet gained a liking to. My mouth burned for a week, but I love the stuff now. Fancy that! It’s funny how often teaching and training can look like terrorizing …

On the terrorizing side of things were his Alien action figures which he would often use to insight fear into my psyche. Among them was a Flying Queen Alien, with wing flapping powers. I remember car rides where we would be forced to sit next to each other and he would bat its wings at my face and I’d be confused, scared, and defenseless against this 8 inch piece of plastic and start crying. While definitely the weakest response to that situation ever, I was probably five or six and those toys were damned terrifying. I’m sure there was some underlying fear that if I did fight back and broke the toy, I’d be in a world of hurt that surpassed any psychological warfare at the time. Or maybe I was just a little bitch. Hard to say. Nevertheless, it was then, in my darkest moments of fear and panic, that a hero would present himself and rise against my evil sibling overlord and his Flying Queen Alien. And that would be still evil (but less so) sibling overlord taking out his Predator figure to kill and defeat the Alien Queen.

The bane of my 5-year-old existence. I am pathetic.

Even though the Predator would promptly turn his tri-lasers on me after defeating his xenomorph prey, the few moments where I was free of the  flapping was a relief. Also, I rather have three red lights on me than repetitive plastic wings flapping in my face. I’m just saying.

It was in those moments a Predator fan was born. It would be a few more years until my parents saw I was old enough to watch the franchise, but in the fight of Aliens versus Predators, I had already picked me pony.

As I grew older, these memories were later repressed. Although I recalled the franchise fondly, it wasn’t one that I obsessed over. When a new Predator novel, comic, AvP film, etc., came out, I’d experience it, appreciate or complain about it, and then put it away somewhere to forget. None of the stories were quite able to get my juices going the way the original film had. It wasn’t until the release of Predators in 2010, when all the pre-adolescent memories came flooding back to me in waves. I’m not implying that the Predators movie was great, but it did resemble the original enough to bring me back to the franchise.

By which I mean it had an ensemble cast, a jungle, and some predators

Watching Predator now feels just as good as it did when it first came out, if not better. Action movies today seem to either be too serious or too tongue in cheek. Pithy one liners like, “Stick around” after nailing a bad guy through the heart with a machete, just aren’t said with the same amount of smugness as they were when Schwarzenegger quipped them 25 years ago. Actors and screenwriters today either try to pass them off as ironic, or ignore them all together. That said, even in this movie there are characters that look at others for their absurdly awesome one liners. When Jesse Venture’s character Blain famously states that he “ain’t got time to bleed,” after Richard Chaves‘s character informs him that he is, in fact, bleeding, Chaves responds to him the same way the audience does:  “Oh, okay,” with a hint of awe and fear in his eyes.  (I do want to point out that when Blain is later found dead, he isn’t bleeding–all his wounds are cauterized) While admitably absurd, the way Ventura and Schwarzenegger both state their lines with such matter-of-factness is something lost on this generation of action stars.

The 80’s definition of a man. By why need it be relegated to one decade? Why not now?

Granted, calling a group of special force operatives, “A bunch of slack jawed faggots” because they have no interest in chewing tobacco probably wouldn’t go over well at all today. Even if said ironically.

Speaking of horrible epithets towards a person’s sexuality (hell of a segue, right?), has no one else picked up on the homoerotic undertones on this movie? Ignoring for a moment that the Predator’s mouth itself looks like a giant vagina dentata, the testosterone pissing contests depicted throughout the 104 minutes of film are just ridiculous.

Seriously though, it does.

From the mid-air arm wrestling match between Dutch and Dillon, which starts on a shot of them shaking hands, biceps completely flexed, that is held up to a count of at least two Mississippi; to Blain constantly holding his massive gatling style minigun at hip level to look like an extension of his dong. Then there are the rather subtle shots of snakes doing nothing but being phallic symbols, to the subtext heavy scene of Mac telling the moon he will carve Blain’s name into the Predator once he kills him. The way he sells that monologue and angsts over Blain’s demise and saying “he was [his] … friend” leads one to question the true nature of their relationship, in a pre-Don’t Ask, Don’t Tell military. I’d like to see how it would have been handled today, when one could be out and still join the melee to destroy an extra terrestrial enemy.

Oh, and let’s not forget to mention, that the Predator vagina monster is defeated when he is squashed by a giant log. Phallic imagery ahoy!

They’re not even shooting at anything here. I’m serious.

Perhaps, I am just looking too deeply into an action movie that isn’t supposed to be taken all that seriously. But where’s the fun in that? I have heard it suggested that it may be a satire on action films, with the goofy ending credits giving some credence to that hypothesis. Yet, if that’s the case, I don’t think Arnold is in on the joke as I honestly believe it showcases some of his greatest acting ability, and is without a doubt his most bad ass here. While Terminator is my favorite Ahnuld led franchise, I must admit that his golden skinned Adonis, caked in mud to mask his heat signature, known as Dutch wins me over in ways the T-800 cannot (I can only hope the machine will one day learn to understand this, if not actually sympathize). From smug to betrayed, to confusion to fear, then back to smug again. He shows a full range of emotion that I did not know Austrians–let alone politicians–were actually capable of.

Arnold Schwarzenegger: Tree Hugger For Life … literally

There is so much more to say about this movie and how much I love it and why, but I think we’ve covered enough bases if not used enough words. So I’ll leave you here: no matter what the movie  is supposed to be, I am sure we can all agree that it is a great film and will stand a longer test of time than a mere quarter of a century. Additionally, it is true what they say: that if it bleeds we can kill, luckily we can all rest assured that this bad boy ain’t got time to bleed.

And now behold… “Predator: The Musical“!

With an upcoming release it looks like we’ve started to see a bit more advertising for ‘Total Recall’. These posters (which i’m assuming will hit the streets at next months San Diego Comic-Con) are advertisements for Rekall. In the movies Rekall is a fictional company that offers “implanted memories for a cost”.

 

And if you haven’t seen the trailer by now:

Find out what is real when ‘Total Recall’ hits theatres August 3, 2012.

In 1984, Ray Bradbury wrote a short story called “The Toynbee Convector”, in which a time traveller has just returned from a visit to the future.

As the time traveller describes it, the world of the future is wonderful. In just a century’s time, humanity has turned it all around: they’ve committed to peace, developed technologies that allowed them to feed the poor and protect the environment, and even made monumental leaps in space exploration.

The world has become everything it could be. So why didn’t the time traveller stay in this utopia? He couldn’t. Not only were the denizens of this “future perfect” helpful and welcoming- they knew he was coming!

In their future, he had already gone back and told everyone about his journey. In fact, it was his description of this ideal outcome that gave people hope in the first place. It was only after hearing they would succeed that people made a real effort to fix the world.

And so, the time traveller returns to the present, and he tells everyone of the wondrous things he’s seen. And sure enough, knowing what the world could be does give everyone hope, as well as purpose. They focus their efforts on turning the world into the one the time traveller described.

A hundred years go by. The time traveller, now an international hero, is quite elderly, but has hung on long enough to watch the world grow into the place he said it would be.

When the date of the young time traveller’s visit finally arrives, the world watches in gleeful expectation at the time and place where the time traveller told them he landed.

And he doesn’t come.

They wait and wait, and the date passes entirely, and the time traveller never shows up. Everyone is dumbfounded.

Finally a reporter confronts the aged time traveller, who reveals his secret: He lied.

The time machine never worked. But he knew that humanity was capable of making a better world. They just needed to be sure their efforts weren’t wasted. They needed a destiny to fulfill. So he gave them one.

I think this was as close to an autobiography as Ray Bradbury ever wrote. You see, Bradbury didn’t just write speculative fiction like so many of his contemporaries, stories about what could be.

Bradbury’s stories were about what SHOULD be.

In The Martian Chronicles, Bradbury showed us humanity at its best and worst over the course of mankind’s greatest endeavor.

He reminded us of the depths of wonder and fear we were capable of as children in Dandelion Wine and Something Wicked This Way Comes.

In his magnum opus Fahrenheit 451, Bradbury warned us of the dangers of losing touch with our humanity. He rekindled our love of art and literature by depicting a world where they were outlawed.

Bradbury wrote over 30 books and close to 600 short stories. He wrote again and again about the beauty in the world that we so often overlook. He did this because he knew we were capable of regaining that childlike vision, of seeing the world the way he did.

He gave us a state to which we should aspire. He gave us a destiny to fulfill.

Ray Bradbury died today. But he leaves behind a legacy of the entire world. Thanks to his work, many of us can see it for how beautiful it truly is.

The time traveller was 91.

The sci-fi genre (including science fiction, fantasy, and horror) has a long history of unofficial equal rights advocacy. As far back as the 18th and 19th century, sci-fi stories like Gulliver’s Travels and The Time Machine subtly touched on topics of racial intolerance and class disparity. The 1950s brought us The Twilight Zone, an anthology of morality plays, many of which dealt with racial injustice. In the 1960s, Star Trek repeatedly championed the civil rights movement, airing television’s first multiracial kiss and producing episodes like “Let That Be Your Last Battlefield”, a deft allegory of the consequences of racism. In the late 60s and 70s, George A. Romero put strong black characters in leading roles in his socially conscious zombie films.

A member of the noble race of aliens from "Let That Be Your Last Battlefield", seen here next to one of the dirty, inferior race.

So how is it that after two centuries of progressive, forward-thinking literature, racism has begun to pervade sci-fi? Since the turn of the millennium, there have been a few prominent examples of bald racism in the sci-fi world. These may be isolated incidents, but they do have one glaring common aspect: they were all defended by fans. Rather than a public consensus shaming the offenders into apology, which has become the protocol in these situations (see: Michael Richards), in each of these cases fans mounted a counter-argument denying any existence of racism. These have not been good arguments, but they have, like creation “science”, been enough to muddy the waters for those who don’t want to see the truth.

POD RACE WARS

In 1999, the lifetime of anticipation millions of Star Wars fans had built up waiting for Episode I finally ended. And it ended the way every lifetime does: with death. The pristene sense of wonder and joy that was born out of seeing Star Wars for the first time died that day. And out of its ashes grew a bitter cynicism from which society will not recover until the only ones left are the kids who saw the prequels first, carefree and ignorant without a frame of reference for what should have been.

I believe the children are our future. At least, I used to...

On a laundry list of complaints about The Phantom Menace, the use of racism as a storytelling device certainly takes priority. At least three different alien races in the film, in voice, dress, and manner, are indistinguishable from specific racial stereotypes. The Neimoidians, leaders of the Trade Federation, with their large-sleeved robes, bowing, and thick Asian “r” and “l” switching accents are clear corollaries for the Japanese. Watto, a hairy, big-nosed, money-obsessed junk dealer is an overt Semitic caricature. And then there’s Jar Jar Binks and the Gungans, with their definitive Porgy and Bess accents are obviously stand-ins for native Caribbeans. All of these characters are depictions of racial stereotypes, and all of them are bad. The Trade Federation are in league with the Sith, Watto is an unscrupulous slave owner, and Jar Jar is a rude, lazy fool.

"Meesa ashamed of reinforcing negative racial preconceptions."

Some fans refuse to believe these characters are the product of racism. These fans contend that the alien races are original compilations of traits, and racially sensitive people pick out specific traits they associate with races and extrapolate racism that isn’t there. But it isn’t just one trait; it’s the whole package. There’s a reason the Anti-Defamation League hasn’t ever voiced serious concerns about the anti-Semitic undertones of gold-hoarding dragons. Because that is extrapolating association from a single trait. That’s not what they do. No one came to Star Wars looking for racism. They saw it because it smacked them in the face.

There were several offensive characters in Phantom Menace, but this one wins by a nose.

Another common defense is simply to ask why Lucas would put in racist stereotypes. In other words, these fans are demanding the prosecution show motive. Well, the motive is simple and sad: lazy writing. A thoughtful, creative writer will spend time developing characters, but a lazy writer can import easily recognized stereotypes in place of unique characters. Essentially it’s like stealing a stock character from another work of fiction, only this time the fiction is the magical world that racists live in.

Compare the races of Episode I with those of the Lord of the Rings series. J.R.R. Tolkien practically invented what we think of as elves and dwarves not by recontextualizing pre-existing stereotypes but by creating a world and considering how that world’s history and landscape would affect how societies developed. Each race has a specific set of culturally inherent traits, but even if they share any history with or bear any resemblance to real peoples, they don’t stick out as identical with persistent stereotypes. And Tolkien was part of the tradition of promoting racial unity as Gimli the dwarf found friendship with elf Legolas. Of course their common ground was the hunting and killing of a third race, but hey, Orcs are jerks. Even Dr. King said we could judge people by the content of their character.

The ACLU isn't goin' anywhere near this one.

You don’t even have to leave the Star Wars universe to find an example of well-done race introduction. A New Hope‘s Mos Eisley Cantina is full of many different alien races, all distinct and imaginative variations on basic animal features. Their manner and clothing tell us immediately that these creatures are sentient despite reminding no one in any way of any human race or even the human race.

Scum? Sure. Villainy? You bet. Stereotypes? No.

The “shorthand” of racial stereotypes is unnecessary to convey an individual’s personality or even the cultural identity of a recently introduced alien race; good storytellers are able to give us this information through good writing. Lucas clearly used to be a good storyteller, but he got old, tired, and lazy.

REVENGE OF THE APPALLIN’

About a decade after Episode I, sci-fi race relations suffered a very similar setback with episode 2 of the Transformers franchise. We’ll just call Jazz’s breakdancing in the first Transformers a misguided homage. But he was replaced in the second film by the duo of Mudflap and Skids, robots that used rap slang and sounded “street”- one of them even had a gold tooth (I’m not sure which one- the movie Transformers all look alike to me). Once again, we’re talking about lazy writers using offensive stereotypes in place of original characters, but this goes even further. These obvious black analogues are rude, gross, craven, and even, despite presumably having advanced alien CPUs for brains, illiterate. And even this was not universally acknowledged as racism.

Robo-jangles of Cybertron

The defense here was similar to that of The Phantom Menace. Fans who jumped to the film’s defense said, “They’re not black men, they’re robots! They’re not even black robots! How can it be racist?” But racism is more than meets the eye. It doesn’t have to be a black man to be a depiction of a black man. Amos ‘N’ Andy were two white guys in minstrel makeup. The caricature already exists in our culture and can be depicted via cartoon bird, CG robot, cave etching- it’s still making fun of black people.

Note: THIS is blackface. That Billy Crystal Oscars thing was simply using makeup to enhance an unfunny, outdated impersonation. Completely different thing.

FAN BLACKLASH

So are fans racist? Well, yes and no. Obviously there’s nothing inherently racist in sci-fi to promote extra intolerance, but that doesn’t mean that there aren’t some fans who bring their racism with them. You might think sci-fi’s myriad fables against discrimination would discourage ethnocentrists’ interest, but even in their religions people hear what they want to hear. Sci-fi’s biggest deterrent to racism is its innate intelligence; the often complex rules and sophisticated storylines of new universes tend to naturally repel those of lower intelligence, whom studies have shown are more likely to hold racist beliefs. So sci-fi fandom probably has a slightly lower proportion of racists than the rest of society, but they are there.

Unfortunately, in the Venn diagram of society, the circles of racial intolerance and genre enthusiasm do have some overlap. Two recent examples made me ashamed of my people. The first is the rejection of a black Spider-man. When Sony announced in 2010 that it would reboot the Spidey franchise with a new Peter Parker, a sharp-eyed fan suggested writer/actor Donald Glover for the role. Glover is a smart, funny young actor with a slim, muscular build; he would have been a strong choice for the iconic character. As an excited fan himself, Glover retweeted the idea, causing a flurry of Internet excitement. But not all of the buzz was positive. Hundreds of fans denounced the idea, saying they would never see a movie with a black Spider-man.

Fear of a Black Daily Planet. What? It's Bugle? Crap. That was such a good joke. OK, how about "Parker Brother"?

Some argue that this was not a racially motivated disgust. They argue that die hard fans’ ire is notoriously easy to provoke by adaptations straying from the source material, and that’s a fair point. Fans were also annoyed that John Constantine was played by a brunette American instead of a blond Brit. However, those that tweeted death threats and epithets at Glover were not pre-occupied with comic accuracy, but were clearly a different kind of purist altogether.

The more recent example is also in casting, but this one isn’t merely hypothetical. The Hunger Games movie adaptation broke box office records, but a vocal minority soured the occasion. These readers apparently missed the indication to beloved character Rue’s dark skin in the book and were shocked and disgusted by the decision to cast a young black actress. Naturally, these fans vehemently denied that their outcry was in any way racist. All they said was that they couldn’t see a little black girl as innocent or be upset when a little black girl’s life was in peril, because she’s black. Nothing racist about that.

Where's Kanga, am I right? But no, in all seriousness, this totally made me cry like a baby.

For the most part, I don’t think all that many sci-fi fans out there are racist. The Hunger Games and Spider-man franchises have much larger audiences than most genre works, and a bigger crowd always means a bigger, louder fringe. I don’t even think those who denied the racist elements of Star Wars Episode I and Transformers 2 are themselves racist. I just think they’re in denial. they’re choosing to believe that the things they love so much could not possibly be so flawed. They’re like abused housewives attacking the cops who are trying to protect them. The reality is just too hard to face.

But we have to face it if we are going to move forward. Sweeping this under the rug is not acceptable. The only way we will ever remove racism from sci-fi in specific and society in general is to stop denying that it exists. The first step in recovery is admitting that you have a problem. And right now we do.

I’m full of roiling hate, oceans of roiling hate containing gigantic sharks with teeth bigger than my rather immense forehead—which is appropriate, given the movie that Matt Kelly suggested I watch this week.

Shark Attack 3: Megalodon is a frightening example of what can happen when your sound guy runs amok with his dubbing.  I fear for my safety, I fear for the safety of my never-to-be-existent children, that one day they may find themselves unable to speak, only able to laugh like assholes whenever someone of a different race speaks to them.

"Do you like movies about gladiators?"

Directed by David Worth (Lady Dragon, Lady Dragon II), written by the duo who brought you the previous two Shark Attack movies (Scott Devine and William Hooke), this steaming pile of krill was released straight to video in 2002, allowing it to bypass the average person’s radar (lucky, lucky average person).

What was the average person missing?  Actors John Barrowman (Torchwood’s Captain Jack Harkness), Jenny McShane (um…), and Ryan Cutrona (24’s Admiral John Smith and Mad Men’s Gene Hoftstadt) doing battle with a giant shark.  Sounds pretty amazing, right?  We get somebody to zap in a torpedo-rigged TARDIS right into the belly of the beast, BOOM, no problem.

Well, that’s not what happens.  So much for your connections, Barrowman.

The end of every James Bond movie I've ever seen.

This feast of a film opens with a brief, barely related, and completely unnecessary prologue where a diver for Apex Communications falls prey to a drive-by sharking.  What this bit of background establishes for us is two things: 1) there’s a shark 2) while the movie may have been released in 2002, it was clearly shot in the 1970s.

Moving past that near-useless opening, we are introduced to Colima, Mexico’s Playa Del Rey Resort, manned and visited by robotic beings programmed with an unendingly creepy laugh track.  These robots, should they be of a feminine appearance, do not have the capacity of language and only communicate with their brethren with various combinations of moans, cooing, and sounds of surprise.  As for the males, the standard issue models are able to form simple sentences regarding their female counterparts, each sentence punctuated by mechanical laughter.

Unfortunately for these robots, a robot-eating shark has decided to spent some time at the resort’s beaches and soak up some rays and munch on some communications cable—you know, typical shark activities.

Unfortunately for this shark, Captain Jack Harkness is on the case.

Wait, what?  Not Harkness???  What, just some douche named Ben and a paleontologist who could only pass for Laura Dern on account on blondness?  Fuck this movie.

Shark-cam!!

Not-Harkness (Barrowman) and Not-Dern (McShane) team up with some aging ex-Navy guy (Cutrona) and flounce around Colima ogling the scads of bare breasts while uncovering shark-hiding conspiracies set in place by heads of greedy corporations.

What’s the conspiracy?, I will pretend you cared enough to ask.  Apex Communications is laying down miles and miles of communications cable underwater with the hope of wrangling billions of dollars from an international market, but there’s a problem… the cables emit such electricity that they’re waking up dinosaur sharks.

Okay, not “dinosaur sharks” like in ScyFy’s Dinoshark, but really big, supposedly extinct sharks called megalodons.  And these megalodons are attacking the shit out of anyone who happens to be in the area when they stroll down the cable route.  Yes, attacking the shit out of them.  It’s part of the circle of life, just accept it.

Apex has learned about this side effect of their cables and, instead of doing something like taking care of the problem, they’ve decided to just keep on with it and either someone else will kill the sharks or they’ll eventually run out of customers.  Either or.

Exhibit A: Man who was, indeed, attacked the shit out of.

With all of this asinine stupidity in place, there are four very redeeming parts of this movie.

1. A baby Megalodon decides to grab the rope of a helpless paraglider and slowly drags her kicking and screaming into the ocean where it can chomp her to little bits.

2. Caught in the midst of a ship cabin panty raid, Not-Dern pumps a round of lead directly into the thieving baby Megalodon’s mouth.  Immediately before this moment, Not-Harkness is seen whacking the shark’s nose with a baseball bat, screaming “Die, die, die!!”

3. After wrapping up their shark-assassination plan, the charming and suave Not-Harkness says, “I’m really wired.  What do you say that I take you home and eat your pussy?”

4. Mama Megalodon wakes up and starts eating boats.  Please see the pictures below, as words cannot possibly wrap around the concept of how awesome this is.

I'm a shark, I'm a shaaaaark!
Suck my diiiick, I'm a shaaaark!

In sum, this movie isn’t great.  The first three-quarters of an hour is pretty tedious and entirely worth skipping, but once those forty-five minutes pass, even Disney can’t generate this kind of movie magic.  So if you’re feeling like sharking it up tonight and getting your Megalodon on, sink your hundreds of pointy teeth into this baby on Netflix on Demand.