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Jaws (film)

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                      Jaws
               Theatrical poster
     Directed by   Steven Spielberg
     Produced by   David Brown
                   Richard D. Zanuck
     Written by    Novel:
                   Peter Benchley
                   Screenplay:
                   Peter Benchley
                   Carl Gottlieb
                   Howard Sackler (uncredited)
      Starring     Roy Scheider,
                   Robert Shaw,
                   Richard Dreyfuss,
                   Lorraine Gary
      Music by     John Williams
   Cinematography  Bill Butler
     Editing by    Verna Fields
   Distributed by  Universal Pictures
   Release date(s) June 20, 1975
    Running time   124 min.
       Country     United States
      Language     English
       Budget      $7,000,000
     Followed by   Jaws 2
            All Movie Guide profile
                  IMDb profile

   Jaws is a 1975 horror– thriller film directed by Steven Spielberg,
   based on Peter Benchley's best-selling novel of the same name. The
   novel was inspired by the Jersey Shore Shark Attacks of 1916. In the
   film, the police chief of Amity Island, a summer resort town, tries to
   protect beachgoers from the predations of a huge great white shark by
   closing the beach, only to be overruled by the money-grubbing town
   council. After several attacks, the police chief proceeds to enlist the
   help of a marine biologist and later a professional shark hunter to
   kill the shark. The film stars Roy Scheider as police chief Martin
   Brody, Richard Dreyfuss as marine biologist Matt Hooper, Robert Shaw as
   the shark hunter Quint, Lorraine Gary as Brody's wife Ellen, and Murray
   Hamilton as the greedy Mayor Vaughn.

   Jaws is regarded as a watershed film in motion picture history, as it
   is the father of the summer blockbuster movie. Due to the film's
   success in advanced screenings, studio executives decided to distribute
   it in a much wider release than ever before. The Omen followed suit a
   year later in the summer of 1976, and then Star Wars one year later in
   1977, cementing the notion for movie studios to distribute their
   big-release action and adventure pictures (commonly referred to as
   tentpole pictures) during the summer season. It is thought to be the
   first film that advanced Steven Spielberg's directorial career. The
   film was followed by three sequels, generally regarded as declining in
   quality with each successive entry and greatly inferior to the
   original: Jaws 2 ( 1978), Jaws 3-D ( 1983) and Jaws: The Revenge (
   1987).

Synopsis

   Spoiler warning: Plot and/or ending details about "Jaws" follow.

   The film begins at a late night beach party on Amity Island. A young
   woman named Chrissy Watkins (Susan Backlinie) leaves the party to go
   for a swim in the ocean; while in the water, she is suddenly jerked
   around by an unseen force and then pulled under. The next morning,
   Chief of Police Martin Brody (Scheider) is notified that the woman is
   missing, and heads out to the beach. Brody and his deputy find the
   girl's mangled remains, and Brody comes to the conclusion that it was a
   shark attack. Before he can close the beaches he is intercepted and
   overruled by the town's mayor, Larry Vaughn (Hamilton), who tells Brody
   that the girl was killed by a boat propeller. Vaughn is concerned about
   the incident hurting the summer tourist season, especially the upcoming
   4 July celebration, as it is the town's major source of income. After
   the town medical examiner backs up the mayor's story, Brody reluctantly
   goes along with him.

   A few days later, a young boy is killed by a shark while swimming at
   the beach, and his mother places a $3,000 bounty on the animal. The
   bounty sparks an amateur shark hunting frenzy, but it also attracts the
   local Quint (Shaw), a professional shark hunter. Quint interrupts a
   town meeting to offer his services, but is rejected because of his high
   price and general attitude. Marine biologist Matt Hooper (Dreyfuss)
   then arrives at the town harbour amidst the shark hunting frenzy and
   introduces himself to Brody. Hooper conducts an autopsy of the first
   victim, where he quickly concludes that she was killed by a shark.
   However, a large tiger shark is caught by a group of novice fishermen,
   leading the townspeople to believe that the killer is dead. Hooper is
   unconvinced, and asks to examine the contents of the fish's stomach to
   determine if it is the correct shark. Vaughn refuses to make a public
   spectacle of the "operation", so Brody and Hooper return after dark.
   They learn that the captured shark does not have human remains inside
   it, so they venture out in Hooper's state-of-the-art boat to scout
   around for the real killer. They come across a half-sunken wreckage of
   a local fishing vessel, and after donning scuba gear to check the hull,
   Hooper discovers another victim. Nevertheless, Vaughn refuses to close
   the beaches.

   On the Fourth of July, the beaches are mobbed, and surrounded by a
   cordon of police boats. While a prank triggers a false alarm and draws
   off the authorities' attention, the real shark enters an estuary and
   kills another man, nearly getting one of Brody's sons as well. Brody
   forces the stunned mayor to close the beaches and hire Quint. Brody and
   Hooper join the hunter on his boat, the Orca, and the trio set out to
   track down the man-eater.

   Out at sea, Chief Brody is given the task of chumming, or shoveling a
   mixture of fish parts and blood into the sea to attract the shark.
   While Brody is engaged in the task, the enormous shark suddenly looms
   up behind the boat; watching it circle the Orca, Quint and Hooper
   estimate the beast is at least 25 feet (8 m) long. Quint manages to
   harpoon it with a line attached to a flotation barrel, designed to
   simultaneously weigh the fish down and track it on the surface, but the
   shark swims away and disappears. Night falls without another sighting
   and the men retire to the boat's cabin, where they compare scars and
   Quint tells of his experience with sharks as a survivor of the World
   War II sinking of the USS Indianapolis. The shark reappears, damages
   the boat, and slips away before the men can harm it. In the morning,
   the men make repairs to the engine, and Quint destroys the radio to
   keep Brody from calling the Coast Guard for help. The shark attacks
   again, and after a long chase Quint harpoons it with two more barrels.
   The men tie the barrels to the stern, but the shark tows the ship
   backwards through the water, overflooding the engine and finally
   ripping free.

   With the Orca dead in the water, the trio try a desperate new approach.
   Hooper dons his scuba gear and enters the ocean inside a shark proof
   cage: he intends to stab the shark inside the mouth with a hypodermic
   needle filled with a powerful poison. The monster shark instead
   destroys the cage, and Hooper flees to the seabed. As Quint and Brody
   raise the remnants of the cage, the shark throws itself onto the boat,
   crushing the stern. Quint slides into its mouth, slashing at it in vain
   with a machete before being pulled under and devoured. Brody retreats
   to the boat's cabin, now partly submerged, and throws a pressurized air
   tank into the shark's mouth when the killer rams its way inside. Brody
   takes Quint's rifle and climbs the mast of the rapidly-listing boat,
   where he temporarily fends off the attacker with a harpoon. The shark
   circles around and charges one last time at Brody, who starts firing
   the rifle at the tank still jammed in the shark's mouth. He finally
   scores a hit, blowing the shark's head to pieces and sending the rest
   of its body to the bottom of the ocean in a cloud of blood. Hooper bobs
   to the surface alive and reunites with Brody, and the two survivors
   swim to shore using the flotation barrels as a raft.
   Spoilers end here.

Production history

   The film was produced by Richard Zanuck and David Brown, who had
   purchased the film rights to Peter Benchley's novel in 1973 for
   approximately $250,000. His novel was loosely based on a real-life
   event in the summer of 1916 when a series of shark attacks killed four
   people along the New Jersey coast and triggered a media frenzy. Though
   he was not their first choice as a director, the producers signed
   Spielberg to direct prior to the release of his first theatrical film,
   The Sugarland Express (also a Zanuck/Brown production).

   Part of the deal that Benchley struck with the producers when they
   purchased the rights to his novel guaranteed that the author would get
   to write the first draft of the screenplay. All in all, Benchley wrote
   three drafts before deciding to bow out of the project. Tony and
   Pulitzer Prize-winning playwright Howard Sackler happened to be in Los
   Angeles when the filmmakers began looking for another writer and
   offered to do an uncredited rewrite, and since the producers and
   Spielberg were unhappy with Benchley's drafts they quickly accepted his
   offer. Spielberg sent the script to Carl Gottlieb (who appears in a
   supporting acting role in the film as Meadows, the politically
   connected reporter), asking for advice. Gottlieb rewrote most scenes
   during principal photography, and John Milius contributed dialogue
   polishes. Spielberg has claimed that he prepared his own draft,
   although it is unclear if the other screenwriters drew on his material.
   The authorship of Quint's monologue about the fate of the cruiser USS
   Indianapolis has caused substantial controversy as to who deserves the
   most credit for the speech. Spielberg tactfully describes it as a
   collaboration among John Milius, Howard Sackler and actor Robert Shaw.
   Gottlieb gives primary credit to Shaw, downplaying Milius'
   contribution.

   Three mechanical sharks were made for the production: a full model, for
   underwater shots; one that turned from left to right, with the left
   side completely exposed to the internal machinery; and a similar right
   to left model, with the right side exposed. Their construction was
   supervised by production designer Joe Alves and special effects artist
   Bob Mattey. After the sharks were completed, they were shipped to the
   shooting location, but unfortunately they had not been tested in water,
   and when placed in the ocean the full model sank straight to the ocean
   floor. A team of divers was sent to retrieve it.

   Location shooting occurred on the island of Martha's Vineyard,
   Massachusetts, chosen because the ocean had a sandy bottom while 12
   miles out at sea. This helped the mechanical sharks to operate smoothly
   and still provide a realistic location. Still, the film had a troubled
   shoot and went considerably over budget. Shooting at sea led to many
   delays: unwanted sailboats drifted into frame, cameras were soaked, and
   even The Orca began to sink with the actors onboard. The mechanical
   shark frequently malfunctioned, due to the hydraulic innards being
   corroded by salt water. The three mechanical sharks were collectively
   nicknamed "Bruce" by the production team after Spielberg's lawyer, and
   Spielberg called one of the sharks "the Great White turd". Disgruntled
   crew members gave the film the nickname "Flaws".

   To some degree, the delays in the production proved serendipitous. The
   script was refined during production, and the unreliable mechanical
   sharks forced Spielberg to shoot most of the scenes with the shark only
   hinted at. For example, for much of the shark hunt its location is
   represented by floating yellow barrels that have been tied to it during
   the hunt. This enforced restraint is widely thought to have increased
   the suspense of these scenes, giving it a Hitchcockian tone.

   The scene where Hooper discovers a body in the hull of the wrecked boat
   was added after an initial screening of the film. Spielberg mentions
   that after he saw everyone's reaction, he got so greedy for "one more
   scream" that he financed this addition with $3,000 of his own money
   after he was denied funding from Universal Studios. Their thought was
   that there was nothing wrong with the film the way it was and that it
   should be left alone. Ironically, this added scene could be considered
   a continuity error; Brody later tries to convince the mayor to close
   the beaches but never thinks of mentioning a confirmed kill to bolster
   his argument.

   Footage of real sharks was shot by Ron and Valerie Taylor in the waters
   off Australia, with a short-statured actor in a miniature shark cage to
   create the illusion that the sharks were incredibly enormous.
   Originally, the script had the shark killing Hooper in the shark cage,
   but while filming, one of the sharks became trapped in the girdle of
   the cage, and proceeded to tear the cage apart. Luckily, the cage was
   empty at the time, so the script was changed to allow Matt Hooper to
   live and the cage to be empty. Despite this rare footage of violent
   great white sharks, only a handful of these shots were used in the
   finished film.

   The role of Quint was originally offered to actors Lee Marvin and
   Sterling Hayden, both of whom passed. Producers Zanuck and Brown had
   just finished working with Robert Shaw on The Sting, and suggested him
   to Spielberg as a possible Quint. Roy Scheider became interested in the
   project after overhearing a screenwriter and Spielberg at a party
   talking about having the shark jump up onto a boat. Richard Dreyfuss
   initially passed on the role of Matt Hooper, but after seeing a
   screening of a film he had just done called The Apprenticeship of Duddy
   Kravitz, he thought his performance in that film was awful. He
   immediately called Spielberg back and accepted the Matt Hooper role
   (fearing that no one would want to hire him once Kravitz was released.)
   The first person actually cast for the film was Lorraine Gary.

Reaction

Box office performance

   When Jaws was released on June 20, 1975, it had a limited release and
   opened at 409 theaters. It got a wider release on July 25, 1975 at 675
   theaters. On its first weekend it managed to gross over $7 million, and
   was the top grosser for the following five weeks. During its run in
   theaters, the film beat the then-$85 million domestic rentals of the
   reigning box-office champion, The Godfather, becoming the first film to
   reach more than $100 million in theatrical rentals, the money paid to
   the studio distributors out of the total box office gross. Eventually,
   Jaws would go on to gross over $470 million worldwide and become the
   highest grossing box-office hit for two years, securing Steven
   Spielberg's spot in cinema history. This feat was not surpassed until
   Star Wars debuted two years later, in 1977.

Awards and critical reception

   Jaws won Academy Awards for Film Editing, Music (Original Score) and
   Sound. It was also nominated for Best Picture, although Steven
   Spielberg was not nominated for Best Director. The film is consistently
   on the Internet Movie Database's list of top 250 films. Jaws was #48 on
   American Film Institute's 100 Years... 100 Movies, a list of the
   greatest American films of all time, and #2 on a similar list for
   thrillers, 100 Years... 100 Thrills. It was #1 in the Bravo network's
   five-hour miniseries The 100 Scariest Movie Moments (2004). The shark
   was anointed #18 on AFI's 100 Years, 100 Heroes and Villains, opposite
   Robin Hood. In 2001 the United States Library of Congress deemed the
   film "culturally significant" and selected it for preservation in the
   National Film Registry. In 2005, the American Film Institute voted Roy
   Scheider's line "You're gonna need a bigger boat" as number 35 on its
   list of the top 100 movie quotes. John Williams's score was ranked at
   #7 on AFI's 100 Years of Film Scores.

   The film received mostly positive reviews. In his original review,
   Roger Ebert called it "a sensationally effective action picture, a
   scary thriller that works all the better because it's populated with
   characters that have been developed into human beings". Variety's A.D.
   Murphy praised Spielberg's directorial skills, and called Robert Shaw's
   performance "absolutely magnificent". Pauline Kael called it "the most
   cheerfully perverse scare movie ever made... [with] more zest than an
   early Woody Allen picture, a lot more electricity, [and] it's funny in
   a Woody Allen sort of way".

   Nevertheless, the film was not without its detractors. Vincent Canby,
   of The New York Times, said "It's a measure of how the film operates
   that not once do we feel particular sympathy for any of the shark's
   victims...In the best films, characters are revealed in terms of the
   action. In movies like Jaws, characters are simply functions of the
   action. They're at its service. Characters are like stage hands who
   move props around and deliver information when it's necessary.." but
   also noted that "It's the sort of nonsense that can be a good deal of
   fun". Los Angeles Times critic Charles Champlin disagreed with the
   film's PG rating, saying that "Jaws is too gruesome for children, and
   likely to turn the stomach of the impressionable at any age." He goes
   on to say: "It is a coarse-grained and exploitive work which depends on
   excess for its impact. Ashore it is a bore, awkwardly staged and
   lumpily written". The only widespread criticism of the film is the
   artificiality of the mechanical shark, although it is only seen in the
   final moments of the film, and is often brushed over by reviewers.

Inspirations and influences

   Jaws bears similarities to several literary and artistic works, most
   notably Moby Dick by Herman Melville. The character of Quint strongly
   resembles Captain Ahab, the insane captain of the Pequod who devotes
   his life to hunting a great white whale. Quint's monologue reveals his
   similar vendetta against sharks, and even his boat, The Orca, is named
   after the only natural enemy of sharks. In the novel and original
   screenplay, Quint dies after being dragged under the ocean by a harpoon
   tied to his leg, similar to Ahab's death in Melville's novel. A direct
   reference to these similarities may be found in the original
   screenplay, which introduced Quint by showing him watching the film
   version of Moby Dick. His laughter throughout makes people get up and
   leave the theatre (it should be noted that Wesley Strick's screenplay
   for Cape Fear features a similar scene). However, Moby Dick could not
   be licensed from Gregory Peck, the rights' owner. The final scenes of
   the film, in which the men chase the shark and try to harpoon it with
   flotation barrels, parallel the chase for Moby Dick in the novel.

   The first half of the film, where Brody tries and fails to convince the
   townspeople of the appearance of a great white shark off their beaches,
   resembles Henrik Ibsen's 1882 play, An Enemy of the People. In the
   play, an ordinary citizen tries to stop a small coastal town from
   visiting a new set of medicinal baths. He has discovered that the baths
   have become contaminated, but he is met with scathing anger and
   rejection after presenting his findings. Some have also noticed the
   influences of two 1950s horror films, The Creature from the Black
   Lagoon and The Monster That Challenged the World.

   Jaws was a key film in establishing the benefits of a wide national
   release backed by heavy media advertising, rather than a progressive
   release that let a film slowly enter new markets and build support over
   a period of time. Rather than let the film gain notice by
   word-of-mouth, Hollywood launched a successful television marketing
   campaign for the film, which added another $700,000 to the cost. The
   wide national release pattern would become standard practice for
   high-profile movies in the late 1970s and afterwards.

   The film conjured up so many scares that beach attendance was down in
   the summer of 1975 due to its profound impact. Though a horror classic
   (its opening sequence was voted the scariest scene ever by a Bravo
   Halloween TV special), the film is widely recognized as being
   responsible for fearsome and inaccurate stereotypes about sharks and
   their behaviour. Benchley has said that he never would have written the
   original novel had he known what sharks are really like in the wild. He
   later wrote Shark Trouble, a non-fiction book about shark behaviour and
   Shark Life, another non-fiction book describing his dives with sharks.
   Conservation groups have bemoaned the fact that the film has made it
   considerably harder to convince the public that sharks (who, as
   macro-predators, constitute an important part of the ocean's ecosystem)
   should be protected.

   Jaws has been spoofed and referred to in other films, such as in the
   opening sequence of 1941, directed by Spielberg himself. Other
   references are to be found in Meatballs (1979), Airplane! (1980), E.T.:
   The Extra-Terrestrial (1982), Clerks (1994), Mallrats (1995), Chasing
   Amy (1997), Caddyshack (1980) and Shark Tale (2004). In Back to the
   Future Part II (executive produced by Steven Spielberg), a movie
   theatre sports an animated holographic shark over a marquee that reads
   "Jaws 19: This time it's really really personal" and "Directed by Max
   Spielberg". The film has been adapted into a video game called Jaws
   Unleashed and two musicals; "JAWS The Musical!", which premiered in the
   summer of 2004 at the Minnesota Fringe Festival, and "Giant Killer
   Shark: The Musical", which premiered in the summer of 2006 at the
   Toronto Fringe Festival and will be re-mounted in Toronto in May, 2007.

Music

   John Williams contributed the Academy-Award winning film score, which
   was ranked #7 on AFI's 100 Years of Film Scores. The main "shark"
   theme, a simple alternating pattern of two notes, F and F sharp, became
   a classic piece of suspense music, synonymous with approaching danger.
   The soundtrack piece was performed by tuba player Tommy Johnson. When
   asked by Johnson why the melody was written in such a high register and
   not played by the more appropriate french horn, Williams responded that
   he wanted it to sound a little more threatening. When the piece was
   first played for Spielberg, he was said to have laughed at John
   Williams, thinking that it was a joke. Spielberg later said that
   without Williams' score, the film would have been only half as
   successful, and Williams acknowledges that the score jumpstarted his
   career. He had previously scored Spielberg's feature film debut The
   Sugarland Express, and went on to collaborate with him on almost all of
   his films.

   The score contains echoes of Igor Stravinsky's The Rite of Spring,
   particularly the opening of "The Adoration of the Earth". Another
   influence may have been Ed Plumb's score for Walt Disney's Bambi, which
   uses a low, repeating musical motif to suggest imminent danger from the
   off-screen threat of Man. The music has drawn comparisons to Bernard
   Herrman's score for Alfred Hitchcock's Psycho, in which the music
   enhances the presence of an unseen terror, in this case the shark.

   There are various interpretations on the meaning and effectiveness of
   the theme. Some have thought the two-note expression is intended to
   mimic the shark's heartbeat, beginning slow and controlled as the
   killer hunts, and rising to a frenzied, shrieking climax as it
   approaches its prey. One critic believes the true strength of the score
   is its ability to create a "harsh silence", abruptly cutting away from
   the music right before it climaxes. Also, it has been noted that the
   audience is conditioned to associate the shark with its theme, since
   the score is never used as a red herring; it only plays when the real
   shark appears. This is later exploited when the shark suddenly appears
   with no musical introduction. Regardless of the meaning behind it, the
   theme is widely acknowledged as one of the most recognized scores of
   all time.

Soundtrack

   The original soundtrack for Jaws was released by MCA in 1975, and as a
   CD in 1992, including roughly a half hour of music that John Williams
   redid for the album. In 2000, the score underwent two rushed soundtrack
   releases: one in a re-recording of the entire Jaws score performed by
   the Royal Scottish Orchestra and conducted by Joel McNeely; and another
   to coincide with the release of the 25th anniversary DVD by
   Decca/Universal, featuring the entire 51 min. of the original score.
   Fans prefer the Decca release over the Varèse Sarabande re-recording.
   The latter version has been criticized for changing the original tempo
   and instrumentation, although it is complimented for its improved sound
   quality.

30th anniversary and DVD release

   Jaws was first released on DVD as an anniversary collector's edition in
   2000 for the film's 25th anniversary. It featured a 50 min. documentary
   on the making of the film, with interviews from Steven Spielberg, Roy
   Scheider, Richard Dreyfuss, and various other cast and crew members.
   Other extras included deleted scenes, outtakes, production photos, and
   storyboards.

   In June 2005, on the 30th anniversary of the film's release, a festival
   named JawsFest was held in Martha's Vineyard. Jaws was then re-released
   on DVD, this time including the full two-hour documentary produced by
   Laurent Bouzereau for the LaserDisc. As well as containing the same
   bonus features the previous DVD contained, it included a previously
   unavailable interview with Spielberg conducted on the set of Jaws in
   1975.

Differences from the novel

   The film remains quite faithful to the book, with the only significant
   change being the absence of an affair between Ellen and Matt Hooper. In
   the novel, Brody is a native of Amity while his wife, Ellen, was
   previously a member of the wealthy New York summer holiday set before
   she married him. Ellen's despair with her life in Amity leads to a
   short sexual encounter between her and Hooper. In the film, Brody moved
   to Amity Island from New York with his family to take up the position
   of the chief of police, and the relationship between Ellen and Hooper
   is removed.

   There are several other minor differences as well:
     * The film shows that Brody has two sons, eleven-year-old Michael and
       four-year-old Sean. In the novel, the children were: Billy (aged
       13), Martin Jr (aged 11) and Sean (aged 10).

     * The novel notes the fatal attack on Chrissie as occurring in
       mid-June. But in the film, when her death certificate is being
       typed, the date of death is July 1.

     * In the novel, Hooper is killed by the shark during the dive to
       examine it, with the intention of killing it with a bangstick, but
       he survives in the film.

     * In the novel, the real reason for Larry Vaughn keeping the beaches
       open is because of his Mafia ties, not the welfare of the town.

     * All events in the final reel of the film aboard the boat occur in
       one unbroken trip at sea, while in the novel the men safely return
       to Amity's harbour several times.

     * Quint's monologue about the USS Indianapolis is absent from the
       novel and the original screenplay.

     * In the novel, the shark dies as a result of being attached to the
       sinking boat and is thus unable to continue swimming, which when a
       shark is prevented from continuously swimming, water and therefore
       oxygen does not flow through its gills and it dies. For the film,
       something with more visual impact was deemed necessary. Benchley
       was not happy with this change, claiming that the airtank explosion
       was unbelievable.

     * While Quint is eaten by the shark in the film, in the novel he
       drowns after being dragged underwater while attached to the boat
       along with the shark.

Sequels

   Jaws spawned three sequels, each of which failed to match the success
   of the original. Spielberg declined the offer to do a sequel, and went
   on to make Close Encounters of the Third Kind with Richard Dreyfuss.
   Jaws 2 was directed by Jeannot Szwarc, and had Roy Scheider, Lorraine
   Gary, and Murray Hamilton reprise their roles from the original film.
   The next film, Jaws 3-D, was released in the then-popular 3-D format,
   although the effect does not transfer to television or home video,
   where it was renamed to Jaws 3. Dennis Quaid as Michael Brody and Oscar
   winner Louis Gossett Jr starred in the movie. Jaws: The Revenge,
   directed by Joseph Sargent, featured the return of Lorraine Gary, and
   is considered one of the worst movies ever made, with a rank in the
   worst 50 on the Internet Movie Database's Bottom 100. While all three
   sequels made a profit at the box office (Jaws 2 and Jaws 3-D are among
   the top 20 highest-grossing films of their respective years), critics
   and audiences were generally dissatisfied with the films. Also, a movie
   called Cruel Jaws was released in 1995 and called itself Jaws V.
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