As the Orca slowly sinks, the trio attempts a riskier approach. Hooper enters the water in a shark-proof cage, intending to lethally inject the shark with strychnine via a hypodermic spear. The shark attacks the cage, causing Hooper to drop the spear, which sinks. While the shark thrashes in the tangled remains of the cage, Hooper manages to escape to the seabed. The shark breaks free and leaps onto the boat, subsequently devouring Quint. Trapped on the sinking vessel, Brody shoves a pressurized scuba tank into the shark's mouth and climbs onto the crow's nest. He shoots the tank with Quint's rifle, killing the shark with the resulting explosion. Hooper resurfaces and paddles back to Amity Island with Brody, clinging to the remaining barrels.
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Vincent Canby of The New York Times wrote, "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 ... like stage hands who move props around and deliver information when it's necessary". He did describe it as "the sort of nonsense that can be a good deal of fun".[174] 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. ... It is a coarse-grained and exploitative work which depends on excess for its impact. Ashore it is a bore, awkwardly staged and lumpily written."[175] Marcia Magill of Films in Review said that while Jaws "is eminently worth seeing for its second half", she felt that before the protagonists' pursuit of the shark the film was "often flawed by its busyness".[176] William S. Pechter of Commentary described Jaws as "a mind-numbing repast for sense-sated gluttons" and "filmmaking of this essentially manipulative sort"; Molly Haskell of The Village Voice similarly characterized it as a "scare machine that works with computer-like precision. ... You feel like a rat, being given shock therapy".[171] The most frequently criticized aspect of the film has been the artificiality of its mechanical antagonist: Magill declared that "the programmed shark has one truly phony close-up",[176] and in 2002, online reviewer James Berardinelli said that if not for Spielberg's deftly suspenseful direction, "we would be doubled over with laughter at the cheesiness of the animatronic creature."[83] Halliwell's Film Guide stated that "despite genuinely suspenseful and frightening sequences, it is a slackly narrated and sometimes flatly handled thriller with an over-abundance of dialogue and, when it finally appears, a pretty unconvincing monster."[177]
I grew up next to a garage in Westchester County, making a constant pest of myself but learning the ins and outs of engines and car maintenance and repair. After a 12-year stint in Manhattan putting bands together and enjoying years of performance at clubs, colleges, the former Soviet Union and bar mitzvahs as well as 4 albums, I became a full-time writer for the NY Daily News, where I helmed \"ROAD TEST\" and \"YOUR DRIVE\" for 12 years, on and off, as well as freelancing for the NY Times, Guitar Aficionado, Newsweek, Glamour and other assorted media, here I am at Forbes.com and I couldn't be any happier. (Well, maybe a LITTLE.) I appreciate you reading - drop a line at JoshMaxPower@gmail.com if you feel to.
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