Question: When was the last time you took a dip in the sea, splashed around for a while, and listened to the sound of the water? And when you did all that, at what point exactly did you suddenly, and rather worryingly, realise you were all alone and could be eaten by a shark at any minute?
Come on, admit it, as the saltwater washed over your body, a sinking feeling set in as you thought about what lurked below. Why? Because no matter who you are, and no matter where you are in the world, if you’ve ever watched Jaws and then swam in the sea, you’ve convinced yourself a shark could be nearby.
And do you know what? This year if you’re out swimming in the sea, you’ll be having the same thought, because 2025 is a big one for Jaws which will put the film back into the public consciousness.
This summer marks 50 years since this groundbreaking blockbuster splashed down in cinemas. A groundbreaking blockbuster which still has the power to scare, even after all these years.
And while the strength of Jaws’ enduring popularity can be attributed to various factors, including that terrifying shark, a large reason the film has lasted so long is because of Steven Spielberg. The director brought Jaws to life in a way no other director could, and his skills as a filmmaker have put him leagues above many of his peers.
So, with Spielberg and Jaws in mind, this month’s edition of Movie Reviews Special is centred around a collection of films from the popular director. Five have been selected and all have been taken from the 1970s.
The movies include Columbo: Murder by the Book, Duel, The Sugarland Express, Jaws, and Close Encounters of the Third Kind.
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Now streaming…
Columbo: Murder by the Book (1971)
First up, and cheating ever so slightly, is Murder by the Book – the Spielberg-directed instalment of TV show, Columbo. It’s a cheat because Murder by the Book isn’t technically a movie, but instead a feature-length episode of Columbo.
But as every episode of Columbo is feature-length, and therefore essentially a mini-movie, it earns a space in this Special regardless. Plus, Murder by the Book is worthy of movie status, despite its TV budget trappings.
Anyway, during the ‘70s Spielberg kick-started his career with some work in television. One such project was Murder by the Book, a devilishly brilliant helping of Columbo which sees the dishevelled detective investigate the death of a mystery writer.
As with all Columbo stories, Murder by the Book begins with the victim, the perpetrator, and the murder. In this case, the victim is Jim Ferris (Martin Milner), celebrated author and one half of a best-selling writing team, alongside his partner, Ken Franklin (Jack Cassidy).
But Franklin isn’t just Ferris’ partner, he is also his killer. And after setting up an elaborate scheme to provide himself with an alibi, Franklin takes Ferris to his remote lakeside cabin and murders him.
From here, Lieutenant Columbo (Peter Falk) arrives on the scene to uncover details surrounding Ferris’ disappearance and death. Columbo suspects foul play, with Franklin as his chief culprit, and a game of cat and mouse follows.
Now, one of the biggest criticisms often thrown at Columbo, by those less familiar with the series, is that each story gives away the identity of the murderer at the beginning of the tale. This then results in the question: “What’s the point in watching?”
Well, the simple answer is that watching Columbo isn’t about working out who the killer is, it is to see how Lieutenant Columbo solves the case. Each story puts the audience ahead of the game, and the fun is waiting for the detective to catch up.
And if ever there was an instalment to truly sell audiences on the format of Columbo, then Murder by the Book is the one. What Spielberg does with this tale – written by Steven Bochco – is take an already clever murder-mystery, add some real depth to proceedings with some clever directorial choices, and elevate it to a whole new level.
Murder by the Book is Spielberg doing Spielberg, but with lashings of Alfred Hitchcock thrown in for good measure. He takes the standard techniques employed by television shows (close-ups, scenes of heavy dialogue, etc), gives them a cinematic sheen, and delivers a tale which is both thrilling and suspenseful.
Every scene in Murder by the Book sizzles. There is not one ounce of fat, no bloat, no padding, and boy is it dark.
Not only does Murder by the Book have to deal with the Franklin/Ferris murder, but there is also a side plot about a witness. This adds another layer to the story, gives Spielberg the opportunity to take Franklin to a new level of evil, and keeps things cooking rather nicely.
If you’re not familiar with Murder by the Book, or you are familiar with it but have never given it a watch, take the opportunity to view it when you can. With this story, Spielberg delivers 72 minutes of absolute brilliance, and it is arguably one of the best Columbo tales ever made.
Murder by the Book also demonstrates Spielberg’s unmatched skills for storytelling, regardless of scope or scale. He doesn’t have a huge budget, nor an expansive cast, but he works his magic, and the end result is a masterclass in staging, character work, and storytelling.
Should you wish to check out Murder by the Book, the movie-length episode is available to buy from digital video-on-demand stores as part of Columbo’s first season. Alternatively, Columbo is available on DVD and Blu-ray.
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Now streaming…
Duel (1971)
Sticking with Spielberg’s television work for this next entry, which is the TV movie, Duel. Directed by Spielberg, and written by Richard Matheson, Duel is an action-thriller starring Dennis Weaver.
The film follows the story of a travelling salesman who finds himself hounded by a mysterious truck driver. The driver controls a menacing truck, which appears prominently throughout the film, and is the stuff of backroad nightmares.
In the movie, Weaver plays middle-aged salesman, David Mann, who regularly travels up and down the country on sales trips. On his most recent trip, Mann is heading to an appointment when he finds himself stuck behind a slow-moving, smoke-billowing truck.
The truck is hogging up the road, Mann is keen to pass, so he indicates to overtake the vehicle, performs the manoeuvre and carries on with his journey. However, within seconds the truck whizzes past Mann’s car and blocks up the road again.
From here, Mann becomes hounded by the truck and its mysterious driver as he attempts to make his appointment. But what starts out as a bit of road play soon develops into something far more sinister.
Originally broadcast on US TV screens as part of the ABC Movie of the Week series, Duel is a tense, thrill ride of a picture, which depicts one man’s fight for survival against a seemingly unstoppable evil. It’s a theme Spielberg would later revisit with Jaws, but here the menace is on land and it’s man-made.
And unlike in Jaws, where to avoid the shark beach-goers simply step out of the water, here it’s far more difficult to escape the truck. Mann tries multiple times, but no matter where he travels up and down the Mojave Desert, the truck follows.
Even a short moment of respite at a diner offers no real reprieve. While Mann sits inside, waiting for his meal – Swiss cheese on rye, with a glass of water – he starts to wonder if the unseen truck driver is sat inside the restaurant with him.
The truck is parked outside, so it stands to reason the driver is somewhere close by. Perhaps sat across from Mann, enjoying a hearty meal, all the while toying with his latest victim.
And ‘latest victim’ is very much a possibility. Mann did nothing more than overtake the trucker on the road, and yet is relentlessly pursued by the driver, giving the impression this isn’t the first time the unknown figure has had some altercation with a road user.
The fact the driver’s identity remains a secret also adds to the horror of the situation. Although the film lacks the kill count, Duel is effectively a slasher on wheels and certainly has many of the ingredients.
Duel is often regarded as one of the best, if not THE best TV movies of all-time. It pushes beyond the parameters of what would usually be seen on television screens, offering a level of thrills and spectacle usually reserved for the big screen.
Should it have gone directly to cinemas? Undoubtedly, and in the years since Duel’s debut it certainly would have.
Nowadays Duel would probably skip the cinema entirely and play on streaming, bringing things back full circle. The simple premise, plus its low budget ($450,000 in 1971) is the sort of thing streamers would be dying to get their hands on.
And if it was released today and did go direct to streaming, streamers would be lucky to have it, because Duel is a real gem of a film. It may not have the same high profile as many of Spielberg’s other pictures, but it is certainly a cracker in his portfolio.
Should you wish to watch Duel, the movie is currently available to buy on digital video-on-demand stores in the UK. Alternatively, Duel is available on 4K and Blu-ray.
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Now streaming…
The Sugarland Express (1974)
Following the success of Duel, Spielberg moved from television to film. His theatrical debut was The Sugarland Express – a crime romp starring Goldie Hawn, William Atherton, and Michael Sacks.
Co-written by Hal Barwood, Matthew Robbins, and Spielberg, the movie is loosely based on a true story. It focuses on a young couple who find themselves on the run, with a long line of police and reporters in hot pursuit.
In the movie, Lou Poplin visits her husband, Clovis in jail. She is there to inform Clovis their son is on the verge of being placed into foster care, and that today she will be breaking him out of prison to retrieve their kid.
Despite only having four months left to serve, Clovis reluctantly goes along with things and the pair make their getaway. Hitching a ride with an unsuspecting couple, they hot-foot it away from the prison.
But when the car is pulled over by a police officer for an unrelated reason, the Poplins steal the vehicle and bolt. Things then worsen when they crash the car and are forced to kidnap the officer.
With an officer in trouble, the police, media, and the public follow the Poplins across Texas. What comes next is an extremely slow car chase, as the Poplins lead and everyone else follows.
Of all Spielberg’s movies, it’s fair to say The Sugarland Express is one of his lesser-known (or lesser remembered) works. The film lacks the high-profile name of E.T. (1982) or Jurassic Park (1993), and doesn’t have the cult status of Duel.
Yet The Sugarland Express has plenty going for it. Goldie Hawn and William Atherton play great leads in Lou and Clovis Poplin (Hawn is a particular delight); the direction and cinematography is excellent; and the film marks the first collaboration between Spielberg and legendary composer John Williams.
The Sugarland Express also has a fun, laidback vibe and at times there’s a sense of playfulness to the story of Lou and Clovis, as they bumble their way around without much of a plan. Yet, despite this there is also a sense of sadness too, as it becomes fairly evident this story won’t have a happy outcome.
So, all good, right? Mostly.
Where The Sugarland Express falls down a touch is when it comes to the Spielberg magic. Oh, it’s there, but it’s more of a sprinkling than a big dollop.
The Sugarland Express is a likeable picture from the director, but it doesn’t have some of the sparkle of his later films, nor does it have the same energy that was on display in Murder by the Book or Duel. So, while it’s a great film, and certainly an accomplishment for Spielberg’s feature film debut, his previous offerings are stronger, and what’s to come will be better.
Either way, The Sugarland Express is solid stuff. Should you wish to watch it, The Sugarland Express is currently streaming on Sky/Now in the UK.
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Jaws (1975)
In Jaws, it’s night time on Amity Island and a young girl goes for a swim. Within moments of entering the water, the girl, named Chrissie, is attacked by an unseen force and pulled under.
The next morning Chrissie’s partial remains are discovered washed up on the sand. A police investigation takes place, led by Chief Martin Brody, with the coroner concluding her death was caused by a shark attack.
Fearing for the safety of the local citizens, Chief Brody calls for the beaches to be closed with immediate effect, but the local Mayor pleads with him to reconsider. Amity Island is a tourist hotspot, and closing the beaches due to a shark attack will kill the trade for this year and maybe many years to come.
When a second attack takes place, and a young boy by the name of Alex Kintner is killed, a bounty is placed on the shark. Further attacks then occur, leading Brody, oceanographer Matt Hooper, and local shark hunter Quint, to take matters into their own hands to track down the aggressive animal.
Directed by Spielberg, written by Peter Benchley and Carl Gottlieb, and based on Benchley’s novel of the same name, Jaws is a horror-thriller starring Roy Scheider, Robert Shaw, Richard Dreyfuss, Lorraine Gary, and Murray Hamilton. The film is one of the most financially successful films of the 1970s and without doubt one of the greatest American movies of all time (this is not even up for debate).
Upon making its debut Jaws met the approval of countless critics, was a hit with audiences, and picked up a bunch of accolades, including three Academy Awards (Best Film Editing, Best Score, and Best Sound). Decades later, the picture was selected for preservation in the United States National Film Registry; continually receives home video releases and theatrical re-releases; and to this day remains a firm favourite which is still incredibly influential.
Even those who haven’t watched Jaws are aware of its existence, or become fearful of a shark when they hear the iconic theme tune. Composed by John Williams, the theme is one of the most recognisable movie tunes in the world and just a couple of notes is enough to conjure up images of the ferocious fish.
In fact, Williams’ score is so impressive, when you rewatch the movie you see how much legwork it actually does by adding menace to the shark. The shark has limited screen time, but what time it has is bolstered by Williams’ theme.
Of course, the music is just one aspect of Jaws. The film also boasts an excellent cast, with Scheider delivering one of his best performances as Brody; stunning cinematography from Bill Butler which brings Amity Island to life; and magnificent editing by Verna Fields which adds so much action and tension to the story.
All of this is overseen by Spielberg who keeps things running smoothly, despite the various challenges involved with filming in water. The mechanical shark famously floundered during production, and yet Spielberg managed to use the lack of shark action to his advantage, creating a better film as a result.
Scratch that. Not a better film, the perfect film.
Jaws is magnificent. It is everything you could want in a blockbuster (action, drama, thrills, etc) and man, that shark is scary.
The film sits alongside Jurassic Park, Schindler’s List (1993), Raider’s of the Lost Ark (1981), and E.T. as the best of the best when it comes to Spielberg’s work. Not much can touch it and certainly no other shark movie has ever bettered it.
Should you wish to watch Jaws, the movie is currently available to stream on Amazon Prime Video in the UK. The movie is also available to buy on DVD, Blu-ray, 4K, and digital.
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Now streaming…
Close Encounters of the Third Kind (1977)
And finally, in Close Encounters of the Third Kind, on his way to investigate a widespread power outage in Indiana, utility lineman Roy Neary is stopped mid-journey when a UFO passes overhead. Following his encounter, Roy becomes fascinated with what he saw, and can’t get a subliminal message out of his mind.
Meanwhile, as the rest of the world becomes aware of the UFOs, a group of experts working for the United Nations start to investigate some strange activity. In particular, they are interested in a musical tone, comprising five notes, which appears to be connected to the extra-terrestrials.
You know, it’s interesting following Spielberg’s back catalogue from project to project, because it’s easy to see a natural progression in his work. Murder by the Book was a small-scale affair, which provided the director with a platform to create suspense and drama, while Duel cranked things up a notch, moved his work from TV episode to TV movie, and allowed him to focus on spectacle.
The Sugarland Express pushed things once more, this time moving Spielberg to the big screen, with a human interest story which also included an element of law enforcement and brought in composer John Williams. The law enforcement angle then carried over to Jaws via Chief Brody, as did John Williams, while the spectacle from Duel was reworked and redeveloped replacing the truck with a shark.
And then from here, Spielberg took all that he learned about spectacle and human drama from his previous work and funnelled it into Close Encounters of the Third Kind. He promoted Richard Dreyfuss to the lead role of Roy Neary, and gave John Williams the opportunity to compose yet another memorable score.
The end result? A grand story which depicts a world-changing event, and yet at the same time never loses sight of the impact on everyday folk, keeping things relatable for the audience at home.
Does this mean Close Encounters is better than Jaws? No, because Jaws is the equivalent of lightning in a bottle, but it does mean Close Encounters is a more expansive picture, and Spielberg manages to keep it under control effortlessly with some beautiful imagery and special effects.
Highlights of the film include the initial set-up and Neary’s encounter with the UFO; Dreyfuss’ performance; and the all-important score from John Williams. Throw in a theme about an absentee father, something which crops up in other Spielberg films, and Close Encounters is a fab picture.
If you’ve not watched it for a while, it is always worth a revisit. If you’ve never seen it at all, be sure to rectify this situation at your earliest convenience.
Close Encounters of the Third Kind is available to rent or buy on all major digital platforms in the UK. Alternatively, the movie is currently available on DVD, Blu-ray, and 4K.
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Star Movie
So, all the reviews are locked in for this Movie Reviews Special, but which film deserves the lofty title of Star Movie?
General rule of thumb: Most Spielberg films are great films, and some of his films are amongst the greatest films ever made. And amongst the crop of films in this Movie Reviews Special, one sits comfortably within the realm of ‘greatest films ever made’ and that film is Jaws.
It is the picture which launched the concept of the summer blockbuster, and it deserves the title of Star Movie. So, yep, while all of the movies in this Special are great, Jaws is exceptional.
And if you liked Jaws you may wish to watch the following:
- Jaws 2 (1978) – Jeannot Szwarc takes on directing duties for this horror sequel which sees another shark target the citizens of Amity Island.
- Jurassic Park (1993) – Spielberg brings dinosaurs back to life for this iconic ‘90s action film about a deadly dino theme park.
- Deep Blue Sea (1999) – Renny Harlin steers this action thriller about an underwater research facility under attack from genetically engineered sharks.
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That’s it for another Movie Reviews Special. For more movie-related fun be sure to take a look at previous Specials which focused on ‘00s Thrillers, the 1990 Box-Office Top Five, the Fantastic Four, and Bridget Jones.
And of course, if that’s still not enough film fun to keep you sustained, be sure to read the weekly edition of Movie Reviews 2025. You can check out this week’s edition now, before the next instalment drops.
Alex
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Thank you for taking the time to read this Movie Reviews Special on It’s A Stampede!. For more reviews, check out the recommended reads below.
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