In 1987, former Colorado senator and governor Gary Hart (Hugh Jackman) was the leading Democrat in primary polling and a sure bet to take on George H.W. Bush for the White House. In three weeks time, his campaign was in tatters and he folded. It all stems from a supposed affair he was conducting with Donna Rice (Sara Paxton). They deny anything but Gary acts like he has something to hide, evading the media’s questions about his marriage and his past history with infidelity. Enough time has passed in the political landscape to take a deeper dive into Gary Hart’s disintegration in the spotlight, and the moment serves a tipping point for changing media coverage. Journalists talk about the “old days” where candidate infidelity and ailments were just ignored as a gentleman’s agreement of sorts between the gatekeepers, but should they have? While a candidate’s martial relations are significantly less important than policy and governance, they do reflect character and what he or she (but, let’s face it, mostly he) acts with authority. Strangely, The Front Runner wants to paint the hungry journalists digging into Hart’s past as the real enemy, going above and beyond the bounds of ethics for crass sensationalism. This is directed and co-written by Jason Reitman (Tully, Up in the Air), a shrewd storyteller with a knack for human drama, which makes the “both sides are bad” equivocation all the more curious. Jackman is strong and has several scenes of righteous speeches talking about how he didn’t sign away his privacy, except when you run for president, you kind of do, and the American public deserve to know if their leaders abuse power. The movie favors long takes with a wide supporting cast of players that speak like they stepped out of an Aaron Sorkin workshop (an exchange celebrating the “integrity” of news anchors wearing bad suits feels ripped right from Sorkin’s unguarded typewriter). The film is nicely sympathetic to the “other woman” in this scenario and treats her like a human being with dimension. The PR recovery and shady deeds of Hart’s team reminded me of the Chappaquiddick, which placed an unfavorable scrutiny on Ted Kennedy and his team of political spin masters after his deadly car accident. It all makes for an entertaining movie with solid performances and interesting character shading, but its perspective is too wobbly, trying to lay the blame on everyone it can find.
Nate’s Grade: B
Piranha 3D was a horror movie that knew exactly what it was doing, and good gravy it did it well. Here was a horror comedy that brilliantly provided campy thrills, over-the-top mayhem, salacious T&A, and a jubilant sense of humor. It was a glorious 1980s-esque exploitation film adapted to modern times. In the wake of Piranha 3D came the pitiful Shark Night 3D, which was marketed with a similar celebratory exploitation angle. Besides the unifying aquatic threat, the two movies, however, couldn’t be any more different. Shark Night 3D is to Piranha 3D what Branson, Missouri is to Vegas.
It’s spring break on the Bayou, and seven friends are heading out to Sara Palski’s (Sara Paxton) family house on the lake. Nick (Dustin Milligan) has a full course load as a pre-Med major, so he’s looking to relax and finally make a move with his crush on Sara. Along for the ride are geeky Gordon (Joel David Moore), future NFL first-round pick Malik (Sinqua Walls), his girlfriend Maya (Alyssa Diaz), the rebellious party girl Beth (Katherine McPhee), and her ex-boyfriend, the self-absorbed Blake (Chris Zylka). Their revelry is interrupted when they discover that the lake is filled with all kinds of sharks. A group of menacing local rednecks terrorizes the gang and plan to feed them to the sharks.
What this movie reminds me of are the watered down soft-core “comedies” that used to grace the late night airwaves on the cable channel USA. Somebody had the bright idea to take movies that were primarily made to titillate with casual T&A; when you strip away those base exploitation elements, which in this case was sex and nudity, then you’re left with 90 minutes of strained filler and really flat jokes. That’s what Shark Night 3D (in non-3D) feels like. Ignoring the fact that Paxton (Last House on the Left) runs around in a bikini for 90 percent of the movie, the film is lacking guts of all kinds. The closest you’ll get to skin is some brief side boob from American Idol alum, and quizzically ever-present actress, Katherine McPhee (The House Bunny). I want to state for the record that giving McPhee a nose stud and some lower back tattoos is the unconvincing PG-13 translation of making her into a “bad girl.” I wouldn’t be as miffed about the omission of the exploitation elements if the movie presented a compelling story or some well-orchestrated suspense sequences. It presents itself as an exploitation film, replete with plenty of underwater POV shots of bikini bottoms but it pulls back at every opportunity, cruelly teasing the audience with the promise of something better, but better never comes.
Its ideas of suspense revolve around lame jump scares and quickly resolved sequences where characters are picked off by the sharks. The movie sets up a dramatic scenario and doesn’t waste much time. Characters get picked off with mordant efficiency, and yet there’s no pizazz to these deaths, no memorable or gruesome moments. Hope you like seeing people pulled under red water. Unlike Deep Blue Sea, an enjoyable campy outing, these sharks are just regular sharks and yet they behave like genetically engineered killing machines, leaping out of the water to snatch prey at high altitudes. They even know how to break an onboard motor, which sounds like the work of a shark suicide bomber. There’s never really a great explanation for why the sharks are even doing in a lake. Granted, it’s stated to be a salt water lake and spillovers from high waters have been known to deposit oceanic creatures inland, but then the dumb redneck characters take credit for the shark attacks. They say they put them in the lake. I don’t believe this for a second, nor do I believe that these goons are secretly clever when it comes to advanced technology. Their whole scheme, which includes one of them philosophizing about “moral relativism,” is completely unbelievable, as well as their crazy get rich quick scheme.
If you’re not going to deliver the goods, at least don’t pretend that your sharks-eat-college-kids horror movie is some serious work of art. Sadly, the thing that can save any low-rent horror movie, a sense of humor, is noticeably absent with Shark Night 3D. It goes all the way in the other direction, trying to churn serious drama out of ridiculous situations. Characters are prone to delivering long monologues that let us know how scared they are or of some past trauma. Sara is haunted by a drowning scare that put an irreconcilable rift between her and her ex-boyfriend, who happens to be one of the sinister rednecks. The stupid melodrama in this movie is played completely poker-faced serious. When one male character loudly bellows that his girlfriend, who died via shark, was the most important thing in his world, it’s something of a head-scratcher. Before this lady fell victim to nefarious shark attack, we knew next to nothing about her beyond superficial descriptions, namely her race and her designation as “girlfriend.” We don’t even see anything of this so-called relationship, so when the feeding frenzy starts and the characters start getting picked off, the wails of drama are comically misplaced. When that character tries to go back into the water to attain vengeance against the animal that took his woman (“They took one of ours, now I’m gonna take one of theirs”), it feels absurd and hilarious. The movie hasn’t even done a credible job to make us believe the significance of the character relationships.
The screenplay by Will Hayes and Jesse Studenberg relies on stock roles almost to a degree of self-parody (the athlete, the smart wet blanket, the doofus, the virginal girl next door, the vampy girl – hey Cabin in the Woods, I got your lineup right here). You would think given the scenario of shark-infested waters, all you had to do was remain on land. The old chestnut about cell phone signals is here again, but I refuse to believe that Sara’s family house does not have a landline phone. I thought maybe for one shining moment Shark Night 3D would move into an unexpected direction, and then it didn’t. After our first shark victim struggles to pull through, our med student Nick takes charge. I thought it would have been great during this moment, when we fully expect Nick to be indispensable given his medical knowledge, that he gets eaten by a shark. Alas, my dreams of convention upheaval were not to be met. If you can’t predict every twist and turn the movie makes, including the heroic sacrifice and the “twist” betrayal, then you haven’t lived long enough to move on from the kiddie pool.
Shark Night 3D is a schlocky, tiresome, neutered exploitation film missing the elements that make exploitation films worth watching. After a while, it just becomes exasperating. This movie is 90 minutes of being lead around without a payoff. It wants to be a fun, campy movie, but then why does it take itself so seriously and lack the slightest sense of humor? It wants to be considered amongst exploitation horror movies, with nubile teens being stalked in their bikini bottoms below the murky depths, but then why does the movie pull back at every opportunity for sex and gore? Shark Night 3D is a movie that will appeal to no one. If you want thrills and chills, you’ll be disappointed. If you want T&A, you’ll be disappointed. If you want some good shark action, you’ll be disappointed. If you want a workable story and characters worth rooting for, you’ll be disappointed. If you love sharks, you’ll be disappointed, which is a real disappointment. The only people who won’t be disappointed will be the people who grew up on those late-night USA cut-for-TV soft core flicks. To those few people in their bubbles of ignorance, Shark Night 3D might be the best movie they’ve ever seen.
Nate’s Grade: D