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Jaws the movie showtimes online stream 1975 uhd Jaws song, Watch Jaws full movie online now.When an insatiable great white shark terrorizes the townspeople of Amity Island, the police chief, an oceanographer and a grizzled shark hunter seek to destroy the blood-thirsty beast.,what are Jaws movies in order Jaws synopsis full movie Jaws 1975 HD Movies, Full Length Movie
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Title : Jaws
Jaws genre : Horror, Thriller, Adventure
Jaws crew : John Williams, Steven Spielberg, John M. Dwyer, Jeff Gourson, Richard D. Zanuck, Bill Butler, David Brown, Peter Benchley, Peter Benchley, Carl Gottlieb
Jaws release date : 29 October 19 5 6
Jaws runtime : 124 Minutes
Jaws Crew : John Williams, Steven Spielberg, John M. Dwyer, Jeff Gourson, Richard D. Zanuck, Bill Butler, David Brown, Peter Benchley, Peter Benchley, Carl Gottlieb
Jaws movie cast :
Roy Scheider, Richard Dreyfuss, Robert Shaw, Lorraine Gary, Murray Hamilton, Jay Mello, Chris Rebello, Jeffrey Kramer, Lee Fierro, Jeffrey Voorhees
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When an insatiable great white shark terrorizes the townspeople of Amity Island, the police chief, an oceanographer and a grizzled shark hunter seek to destroy the blood-thirsty beast. Jaws 1975 review : Jaws.

A man eating shark is terrorising the holiday island of Amity. Police chief Martin Brody, shark hunter Quint and marine biologist Matt Hooper set sail in the hope of killing the great white monster.

Jaws is responsible for many things, it's responsible for propelling director Steven Spielberg's career into the stratosphere, it was responsible for a downturn in the package holiday trade, and it was responsible for shaping the summer blockbuster release practice's. There are many other things which one doesn't need to bore you with, it's just true to say that Jaws is firmly ensconced in movie history, if one hasn't seen it then one surely knows about it, it is, even today, part of popular culture.

But is it any good? Is it worthy of a long standing reputation as one of the greatest monster movies of all time? Hell yes it is, one or two easily overlooked flaws aside, it busted the box office (world wide) and tapped into a primal fear that resides in the majority of mankind, the unseen that resides in the sea.

Jaws sets out its marker right from the start with a truly shocking and attention grabbing opening sequence, from then on in Spielberg (learning from Hitchcock for sure) tweaks the tension to have the audience living on their nerves, even as character building (by way of Brody's family arc) sedates the pace, we just know that it's all relative to an extension of fear and terror that is around the next corner. After the first victims' remains are found, Brody glances out at the ocean, Spielberg perfectly framing the shot to say so much about what we are about to be witness' to. Jolts and shocks pop up from time to time to help build the unease, whilst Spielberg makes the audience wait before we even see what it is that so coldly and efficiently destroys man. Then it's the claustrophobic switch as our brave protagonists are out at sea on Quint's boat, unaware that the giant menace is now hunting them, eyes as black as death itself.

So many great scenes linger for all time in the memory, the entrance of Quint is a hum dinger, a mournful widow reducing Brody to a stunned realism, the Indianappolis monologue, the bigger boat! Just some of the reasons why I personally love cinema so much. The score from John Williams is as effective as any for the genre and Robert Hoyt's sound team's work furthers the unfolding dread. The cast are superb and uniformly excellent, managing to cast aside technical problems (and genuine resentments at times) to portray this story with verve and a genuine depth of feeling. Yet Roy Scheider (Brody), Robert Shaw (Quint) and Richard Dreyfuss (Hooper) were far from from original choices, Charlton Heston was wanted for the role of Brody, Sterling Hayden and Lee Marvin were both mooted for Quint, and John Voight was Spielberg's preferred choice for Hooper. Whilst Jaws author (and co screen writer here) Peter Benchley was heading for the top by asking for Newman, Redford and McQueen!! Imagine that!

Still it all turned out well in the end because Jaws stands the test of time as one of the best films of its type. No amount of complaining about continuity and a rough looking mechanical shark will ever dim its appeal, even as I revisited it recently for the hundredth time I still got tingles all over my body. So file it alongside King Kong in the pantheon of Monster Movie Masterpieces. 10/10 always, now go enjoy your dip in the ocean.
Is it safe to go back in the water? ...

Steven Spielberg got ahold of the incredible Peter Benchley-penned novel about a giant, carnivorous Great White (dubbed "Jaws") who swims the ocean waters off a fictional resort town, preying on both the Island's locals and its visitors alike, and adaptated, for the silver screen, what would become one of the most terrifying American made thrillers to ever be released in the worldwide cinema. Exceptional filmmaking! And members of Spielberg's crew had the nerve to maliciously "mock" Jaws, by referring to it as "Flaws", during the filming process? All because of a few "glitches" in the mechanical shark? Ha! Who's laughing now?

Great screenwriting by Benchley and Gottlieb. Great composition by the legendary John Williams. Great direction by Spielberg. Phenomenal performances by Scheider, Shaw, and Dreyfuss. Great supporting cast. Just...magnificent. Jaws is a magnificent film. A true classic.
Much like the shark itself, the movie starts slowly, deep down in the depths before coming to the surface to explode in pure sensationalism.

Jaws is one of those rare exceptions where high-brow art meets fun entertainment. At the time of its making, however, simply keeping its head above water was the most the cast and crew were hoping for.

But Spielberg had created something special. During production, no one saw it--I'm not sure Spielberg himself saw it, but it was there. I think it was really editor Verna Fields who saw it and put it together.

Jaws begins the way most primal fears begin: someone is alone, in the dark, in an alien environment, and is being attacked from some unknown entity. People remark today how Jaws worked so well, that it's kept them afraid of the ocean for years. I disagree. I think it's because we are scared of the ocean is why Jaws works so well. The opening scene of the young girl being savaged in the black nothingness that is the night ocean is terrifying because it preys on primal fears; it doesn't create them.

Next we're introduced to our cast of characters: There's Police Chief Martin Brody--an everyman with a fear of the water--and his wife, Ellen. There's Brody's loyal deputy Len Hendricks (mysteriously named "Jeff" in the sequel). Then, of course, there's the other side. There is the crooked mayor Larry Vaughan, and his two toadies newspaper editor Harry Meadows and coroner Carl Santos. After Brody and Hendricks find evidence of a hungry shark off the coast of the resort town of Amity, they do the sensible thing and start closing up the beaches. The mayor, seeing dwindling dollar signs, convinces Meadows and Santos to back him, and together they confront Brody and put the kibosh on his beach closing plan.

In an era where the primitive special effects technology gave us a shark that looked like a pool toy, it became essential that the shark not be the focal point of the film. And while a fin here and a barrel there do work wonders, it's only because the shark is far from the only villain in the movie. To have credibility, we have to have a human villain. And that is where Vaughan comes in.

After Vaughan's cavalier "it-can't-happen-again" attitude blows up in his face, Brody brings in the book smart, but decidedly out-of-his-element marine biologist Matt Hooper. Hooper tells Brody everything he and we, the audience, already know: The shark is out there; it's hungry; it's eating people; and it will continue to do so unless it is killed.

After a disastrous Fourth of July celebration that should have gotten Vaughan impeached, Brody and Hooper join forces with Quint, a grizzled fisherman with a personal vendetta against sharks. The movie then switches from its horror and drama elements and becomes something of an adventure, foreshadowing Spielberg's work on films like Raiders of the Lost Ark. Even John Williams' score begins to conjure up images of Errol Flynn-style swashbuckling. The adventure almost seems fun.

And that is when the shark, previously only a shadow, fin, or plot point referenced by dialogue, takes center stage. The movie shifts gears further near the end, going from adventure to a full on monster movie.

The build up is slow, relying on showing us the results of the shark's presence rather than the shark itself. This creates enough fear and credibility so that by the time the big, rubbery toy shark is commanding the screen, we're afraid of it. It's already been established as a monster.

The movie's pacing, dialogue and acting are all perfect, creating a strong enough foundation on which a silly, albeit terrifying, plot rests. By the time the shark is sinking boats and eating shark cages, Spielberg has made us by into it that he could have had the shark blasting off for the moon and we would have accepted it. And that is how and why Jaws works.

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Title : One Flew Over the Cuckoo's Nest
One Flew Over the Cuckoo's Nest genre : Drama
One Flew Over the Cuckoo's Nest crew : Jane Feinberg, Mike Fenton, Arthur Coburn, Saul Zaentz, Michael Douglas, Lynzee Klingman, Miloš Forman, Bo Goldman, Haskell Wexler, Ken Kesey
One Flew Over the Cuckoo's Nest release date : 9 March 19 0 3
One Flew Over the Cuckoo's Nest runtime : 133 Minutes
One Flew Over the Cuckoo's Nest Crew : Jane Feinberg, Mike Fenton, Arthur Coburn, Saul Zaentz, Michael Douglas, Lynzee Klingman, Miloš Forman, Bo Goldman, Haskell Wexler, Ken Kesey
One Flew Over the Cuckoo's Nest movie cast :
Jack Nicholson, Louise Fletcher, Danny DeVito, William Redfield, Scatman Crothers, Brad Dourif, Christopher Lloyd, Will Sampson, Dean R. Brooks, Michael Berryman
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While serving time for insanity at a state mental hospital, implacable rabble-rouser, Randle Patrick McMurphy, inspires his fellow patients to rebel against the authoritarian rule of head nurse, Mildred Ratched. One Flew Over the Cuckoo's Nest 1975 review : **Subject to the silliest of internet theories**

There are a lot of movie theories but the silliest of all is this nonsense that is all over the internet claiming that _the Chief killed the unresponsive McMurphy because he thought McMurphy was ignoring him._

These idiots claim the Chief did not notice the scars on McMurphy's head and simply thought the unresponsive McMurphy was ignoring him - so the Chief kills him in a fit of rage. Ridiculous.

The Chief killed McMurphy as an act of _kindness_. Chief was releasing McMurphy - a once spirited man now reduced to a vegetable thanks to the control freak, _Nurse Wretched._

This classic movie still holds up after all these years and is a compelling story of blossoming friendships in a lunatic asylum. Nicholson shines in his best performance and is ably supported by Christopher Lloyd, Brad Dourif and Danny DeVito.
***The spirit of freedom vs. the spirit of legal-ism***

Set in the early 60s, the story involves R.P. McMurphy (Jack Nicholson) and his arrival at a mental institution in Salem, Oregon (where the film was shot). He plays the "mental illness" card to get out of prison time, thinking it'll be a piece of cake, but he's wrong, very wrong. Everything appears well at the hospital and Nurse Ratched (Louise Fletcher) seems to be a benevolent overseer of McMurphy's ward, but there are sinister things going on beneath the surface.

"One Flew Over the Cuckoo's Nest" (1975) is a film you'll appreciate more as you mature. I saw it when I was younger and, while I thought it was good, I didn't 'get' a lot of the insights the film conveys.

The movie criticizes the way institutions deal with mental illnesses. Their "therapy" is futile and only makes the patients dependent on the institution itself, thereby creating its need for existence (often at the taxpayer's expense). McMurphy is a threat to the establishment and therefore must be "dealt with."

A lot of people criticize the film by suggesting that Nurse Ratched "isn't that bad" or that "she was only trying to do her job", etc. I had the same reaction the first couple of times I saw it. This reveals an aspect of the film's brilliance: Ratched's malevolence is so subtle that the filmmakers allow the possibility for complete misinterpretation. Yes, from an administrative point of view, she seemingly does a good job, she's authoritarian without being sadistic, and she cares for the residents as long as they follow the rules (more on this below). Yet she is demonic as a robotized arm of a dehumanizing system. She maintains the residents in a state of oblivion and marginalization; they are deprived of their dignity because the system sees them as subhuman.

The filmmakers and Fletcher (not to mention the author of the book, Ken Kesey) make Nurse Ratched a more effective antagonist by showing restraint. Compare her to, say, Faye Dunaway's portrayal of Joan Crawford in "Mommie Dearest," which pretty much turned her into a cartoon villain. Ratched isn't such an obvious sadist, yet she uses the rules to tyrannize the men and reduce them to an almost infantile state of dependency and subservience. Her crowning achievement is Billy Bibbit (Brad Dourif).

McMurphy, despite his obvious flaws, is the protagonist of the story. Although he's impulsive and has a weakness for the female gender, which got him into prison in the first place, he has a spirit of freedom and life. His problem is that he needs to learn a bit of wisdom; then he can walk in his freedom without causing unnecessary harm to himself and others.

Nurse Ratched, on the other hand, represents legal-ism, which is an authoritarian spirit obsessed with laws or rules. This is clearly seen in the World Series sequence: Even though McMurphy gets the final vote he needs for his ward to watch the Series Ratched refuses to allow it on a technicality. When McMurphy then PRETENDS to watch the game and works the guys up into a state of euphoria, Ratched reacts with sourpuss disapproval. That's because legalism is the opposite of the spirit of freedom, life and joy. Legalism is all about putting on appearances and enforcing the LETTER of the law (rule). The problem with this is that "appearances" are not about inward reality and, worse, "the letter kills."

Despite his folly and mistakes, McMurphy does more good for the guys in his ward than Ratched and the institution could do in a lifetime. How so? Not only because he has a spirit of freedom and life, but because he loves deeply, but only those who deserve it – the humble – not arrogant abusers. When you cast restraint to the wind and love with all your heart you'll reap love in return, as long as the person is worthy. A certain person hugs McMurphy at the end because he loves him. McMurphy set him free from the shackles of mental illness and, worse, the institution that refuses to actually heal because it needs mentally ill people to exist; it only goes through the motions of caring and healing (not that there aren't any good people in such institutions, of course).

No review of this film is complete without mentioning the notable character of “Chief” Bromden, played effectively by Will Sampson.

The film runs 2 hours and 13 minutes.

GRADE: A

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