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While the shark in Bait racks up an impressive death count, it’s not particularly terrifying, in large part because it’s constantly framed by the stuff of the human world-walls, a roof, shelves. The death of heroic store owner, Jessup, played by Malaysian-born, Singaporean actor Adrian Pang The film follows their ultimately successful efforts to escape: the shark gets only the characters we’re supposed to dislike and a couple of supremely marginal good guys who sacrifice themselves for the greater good (both of them apparently from Singapore, in a troubling national/racial subtext).īecause pretty much all of the film is set within the flooded grocery store and parking garage, we only ever see the shark in human territory, mostly cruising the aisles of the grocery store like a shopper who can’t find what he’s looking for. A tsunami hits a coastal Australian town and several characters are trapped in a flooded supermarket: the tsunami has also, they soon realize, brought a Great White Shark into the store. The Australian-Singaporean film, Bait (Kimble Rendell, 2012), originally released in 3D, is perhaps the best of these films and illustrates its formula perfectly. Instead, they bring the shark to where we live. The hallmark of these films is that they eschew the existential dread invoked by sending humans out into the ocean-into the shark’s world. These films tend to be horror-comedy-and really not that scary.
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In this post I want to write about something very different, what we might call “humanist horror.” In this variant, sharks come into our terrain, events (including death) seem governed by human rules (a few unsavory jerks or insignificant extras are eaten), and the good guys come out on top. In my first post on shark horror, I wrote about “naturalistic horror,” which puts us firmly in the terrain of the shark, in a world relatively indifferent to humans (except as food), in which the good guys don’t necessarily come out on top (or even alive), and death is random.