Skip to main content

Megamegamegaladon.


While most people were out watching the fireworks tonight, I was at home, watching 3-Headed Shark Attack.



It was the perfect follow-on to BBC2’s Autumnwatch, and just as naturalistically accurate. I assume it was based on a true story; one that presented such a genuine potential threat to humanity that getting the film out as soon as possible took precedence over the quality of the production, the direction or the acting in it. I could fashion a makeshift representation of a man out of Play-Doh with my feet that would be more capable of a subtly-nuanced and convincing performance than any of the cast – and I wouldn’t even take my shoes off first. 

(What I’m saying is, "They weren't very good".)

By calling the follow-up to 2012's classic '2-Headed Shark Attack' '3-Headed Shark Attack', the film-makers misunderstood the concept of a sequel. You usually put the number indicating where it fits in the franchise sequence at the end of the title, not the beginning. What if they want to release a third installment without an extra bonce? They’d have to call it '3-Headed Shark 2', which wouldn’t take into account that it was actually part three, and that it also isn’t related to the 'Shark Attack' series. If only they’d used a word instead of a digit.

(Or just not bothered making it.)

I didn’t get very far into the film in the end. There are only so many whiny American models you can stomach watching act before you want to swallow your own tongue in protest; even when they’re being picked off one-by-one by a CGI’d triple-header. It’s worse than Jaws 3-D. 

The tagline for the film is ‘More Heads, More Deads!’, which doesn’t even make sense.


Popular posts from this blog

'...I'm Gonna Look at You 'til My Eyes Go Blind."

Over the past week or two, I’ve been on a bit of a Sheryl Crow kick, largely thanks to rediscovering her cover of one of my most-liked Bob Dylan songs. She has one of my favourite female voices, yet despite this, I only own one CD and that’s just a single (her '97 release ‘Hard to Make a Stand’); on that basis, you can only imagine how much of her back catalogue I’d own if I hated her (it would fall into minus-figures). Dylan, conversely, takes up more of my collection than anyone else, save The Beatles and Paul McCartney’s solo work. He’s one of those artists who, when you get him, you really get him - and once I’d tuned into his style as a student, I'd time and again be blown away by his lyrics; he’ll have more jaw-dropping imagery in one track than other people fit in a whole career. These days, I mostly listen to music in the morning when getting ready, and more often than not, this will consist of a suggested YouTube playlist when I’m in the bath, r...

Shakerpuppetmaker.

Have Parker from Thunderbirds and Noel Gallagher ever been seen in the same room? The resemblance is uncanny. So much so, I think something’s afoot. If my suspicions are correct, I've stumbled across a secret that will blow the music and puppet industry wide apart. In the mid-60s / mid-90s at least. It doesn’t take long to see the signposts. There’s the similarity between the name of Oasis’ first single, Supersonic, and Supermarianation, Gerry Anderson’s puppetry technique. The Gallagher brothers would often wear Parkas . Live Forever was clearly a reference to Captain Scarlet and Standing on the Shoulder of Giants to the size difference between Noel and his bandmates. The more you think about it, the more brazen it gets. It’s fishier than Area 51, Paul is Dead and JFK's assassination put together. The only glitch to the theory is scale . According to Wikipedia, Anderson’s marionettes were 1’10” and Gallagher is 5’8”. How does he maintain an illusion of avera...

Not The Bayeux One.

The Carole King album Tapestry has been my 'getting-ready-in-the-morning' soundtrack for the past few weeks.  It's been a favourite album ever since I was a student, which makes for a pleasantly gentle way to usher in the start of a day. I've always been a fan of a well-crafted song, which is something of a Carole King hallmark, ever since she started writing with her first husband in the early Sixties. Tapestry may be an unimaginative choice for a favourite LP, as it suggests I haven't delved that far into her career, but it's still an undoubted classic; anything with '(You Make Me Feel Like A) Natural Woman', 'Will You Still Love Me Tomorrow?' and 'You've Got A Friend' on it can't really fail; if nothing else, it proves she likes writing songs with long titles.  Next month, she's set to perform the album live in its entirety for the first time at a gig in Hyde Park, which I would have loved to have gone to, if it weren...