Some people argue that Jaws ruined cinema. It was the first massive summer blockbuster and it paved the way for the nonsense that followed - high concept, big budget, fast food movies for people with short attention spans and less than discerning taste. It completely changed the landscape of the movie industry.

Whether you think this change is a good thing or bad thing depends on if you’re a drooling fanboy or someone with a modicum of intelligence. I know there are people who jizz in their pants at every big movie release. They watch the trailers, they read the news on excitable blogs and they go to the opening weekends, crying inside as they realise that the latest future movie classic starring Ryan Reynolds and Scarlett Johansson isn’t The Godfather. Hell, it isn’t even The Poseidon Adventure. But despite this they’ll still try and convince themselves and others that it is. They’ll artificially inflate the score on IMDb and they’ll nod in agreement with that fuckwit Harry Knowles. Yes The Dark Time Traveling Matrix of Wonderland was really a life changing experience.

For other folk, summer movie season is a time for despair. A time when nothing decent seems to be showing. But even though Jaws helped usher this in, we shouldn’t think less of the film. Jaws is fantastic entertainment and proof that it’s hard to make a big mainstream flick. Producers these days seem to think that there’s a magic formula, but there isn’t. The vast majority of them aren’t going to make anything that comes anywhere near close to the genius of Jaws.

One of the things that helped Jaws was that the special effects were rubbish. This meant that the filmmakers had to be a little more imaginative about the way that they filmed the shark sequences. They couldn’t just show the rubber Great White right from the beginning; the suspense would have been ruined. Instead we see lots of point of view shots and we get to see the results of the carnage.

Had Jaws been filmed today, we probably would have seen the shark in the very first reel, even if Spielberg had been director. Drunk with the possibilities of CGI, the focus would have been on pointless money shots instead of suspense.

But is CGI even better than the effects we have here? Sure, towards the end, as the shark performs increasingly outrageous acts, the effects look dodgy. Just take the mechanical gnashing as he eats Quint or the shark torpedo as he crashes into the sinking boat in order to eat Brody. The effects don’t look remotely real. But did the effects in Deep Blue Sea look real either? Not at all. And at least here there are one or two amazing shots of the shark. Easily the most effective is the first reveal. The attacks at the beginning are unseen, but during the 4th July celebrations we get our first glimpse of the monster. We see it from above as it goes to attack a man in a small rowing boat. The water is dirty and the shark doesn’t perform any acrobatics, but in this one shot it looks completely real. And it makes the scene quite chilling. The thought that there’s this monster in the water, waiting to eat you, has certainly made me more reluctant to dip my feet in the ocean. That there is a sign of an effective film.

As mentioned before, later scenes with the shark aren’t quite as powerful. For instance, the moment when the shark reveals itself to Brody. Yes it’s a big surprise, but the shark, chomping thin air, kind of looks like it has Bell’s Palsy. Far scarier are the scenes where we don’t actually see the shark but feel its presence. For instance, the scene where Quint talks about the Indianapolis. Now the scene is amazing for many reasons. One of the many reasons I love it is because of the scar contest that the characters have - you can feel the characters bonding and this of course makes you care more about them. But it’s also a great scene because of the sense of dread it fills you with. Quint talks about his ship being sunk after delivering the H-Bomb - trapped in the Pacific waters with rescue a long way away, sharks feed on the men. It conveys far more terror than any of the action scenes and gives all of the characters an added layer of depth. Before this they’re all kind of one note (stuck up policeman, crazy seadog and cynical oceanographer) but after this they all kind of change - they finally realise what they’re up against and you’re more invested in them as people.

Other scenes are a bit more mechanical in the scares they create. A prime example is the scene where Brody and Hooper search for the shark at night. As they travel through the waters they stumble upon the boat of a fisherman. Of course, Hooper decides he has to investigate and dives into the water to check the hull of the boat. As he’s checking it, the dead body of the fisherman leers out. It’s a blatant, shameless attempt to make you jump (Spielberg actually tinkered with it, knowing that he still had one big scare left in the film) but it works like gangbusters.

Something that’s easy to forget when talking about Jaws is how funny it is. The dialogue is incredibly pithy and it helps give the film lots of life and energy. I also like the politics of the film - Brody is helpless in the face of a stupid Mayor who will put money before people. But even though he could be a simple villain, even the stupid Mayor has a little depth to him. He just wants his town and its people to prosper and as such ends up putting lives on the line. In one particularly amusing scene, during the 4th July as the fearful beachgoers remain safely on the sand, he encourages a family to enter the water - it kind of reminded me of when a British politician made his child eat a burger to prove that British beef was safe and that we wouldn’t all get Mad Cow’s Disease. He’s just trying to make sure that the celebrations proceed as normal and that the town has a good holiday season, but his recklessness ends up costing lives.

Another scene that gives me a laugh is the introduction of Quint. In the middle of a typically silly and short-sighted town meeting, he runs his fingers down a blackboard and says that for a sizeable sum of money, he’ll catch the shark –he’s the guy who knows exactly what the problem is and how to solve it. Of course, seeing as the town is run by a shyster who likes to cut corners, his offer isn’t taken up. Once again the Mayor puts money before people.

But Quint is by far the most interesting character in the film. And watching the film for the first time in years, it’s kind of remarkable that he’s only really in the final half of the film. It just goes to show how strong his presence is that he’s the first thing I remember when I think of Jaws.

What makes Quint such a likeable character is how much fun Robert Shaw seems to be having. But this doesn’t mean that Shaw is overacting or playing the buffoon. Quint feels legitimately coarse and dangerous. But at the same time, he also has a nurturing side to him. He helps Brody and even comes to like Hooper (thanks largely to the Indianapolis scene).

Speaking of Hooper and Quint, there’s an excellent class war between the two. Quint represents the working class, learn things through experience ethos, and Hooper represents technology and book learning. Neither of them are wrong, but initially they clash. There’s even an amusing bit where Quint downs a beer in one go and then crushes his can. In response, Hooper downs a paper cup and also crushes it. In some ways, the relationship is even like father and son. Hooper constantly feels the need to prove himself and only after much effort does he gain the respect of the old man.

But like I said earlier, neither of their approaches are wrong. Both experience and technology should be embraced. And Quint eventually learns this. Too bad, though, that he only learns it minutes before disappearing down the gullet of a Great White.

The ending of the film, with Brody literally blowing the shark up, should be completely laughable and preposterous, but somehow the young Spielberg has a way of making even the silliest things both plausible and enjoyable. We shouldn’t root for the destruction of sharks, but you can’t help but clutch the air as this fish explodes into a bloody mess. Somehow man manages to triumph against nature. But man shouldn’t let this success go to his head. The key to our survival is education and intelligence. Although a big gun and a gas tank also come in handy sometimes...

To me, one of the most terrifying things in the world is the fact that a lot of Americans vote for their President based on whether they would like to have a beer with them or not. That certainly wouldn’t be my criteria. I want to vote for someone who’s far smarter than me, who has poise, who’s an excellent orator and who has lots of great ideas. I don’t want someone I could hang out with. I want a leader.

But still, in American politics, there persists this notion that the President should be an everyman (or everywoman). He or she should have the common touch. Fair enough, a President has to be able to connect with people, but with George W. Bush the notion has been taken too far. Yes, despite his persona, he’s far from a regular guy (coming from a wealthy family, having your daddy be a former President and going to Harvard will set you apart quite a bit from Joe Bloggs), but although he comes from a privileged background, he’s still a simple man. And that’s what makes his story both comic and frightening. In George W. Bush you can see the reflection of the ordinary citizen, the sort of person who while not mean-spirited or completely stupid, doesn’t understand subtlety or nuance. And as such, with Bush’s Presidency you see what happens when an empty shell of a person becomes the country’s leader. And what happens is chaos.

According to Oliver Stone’s enjoyable biopic, all George W. Bush wants is approval. He wants approval from his daddy and he wants approval from his voters. And that’s what’s so frightening about him. He doesn’t appear to be a wicked person. He just appears to be an opportunist, bouncing around a directionless life until he became President. And then when he gets there, he has nothing to do. Well, until 9/11 happens. Then he gets the chance to be a hero.

One of the recurring themes of the film is George W. standing in a baseball field raising his arms to an empty crowd. All he wants is applause and adulation. He wants the validation his father struggles to give him. So all the time, while in office, he’s trying to please the American voters. He’s trying to avenge 9/11 and he’s trying to protect its citizens. Therefore you have the Iraq war, Homeland Security and the Patriot Act. Bush thinks that these are all wonderful things that are going to secure his legacy as a great guy. Little does he know that these things are choking his country.

The real villains of the piece are Dick Cheney and Donald Rumsfeld. They’re Bush’s puppet masters. They’re the ones who really control his policies.

There’s a wonderful scene about halfway through the film where Bush’s cabinet are discussing a potential war with Iraq. Everyone has their own ideas but then Dick Cheney (played by Richard Dreyfuss) presents a plan to oust Saddam’s regime so that America can gain possession of the oil fields. He says that if they control the supply nobody will fuck with them anymore. The scene is rather chilling in the greed and selfishness that is displayed by Cheney, and in the naivety that Bush shows. I really do think that he believed that he was going to make the world safer rather than make it more chaotic.

Another scene that sent a shiver down my spine is the one where Bush and Cheney talk about using torture. Bush wolfs down a sandwich and drinks from a glass with a large Presidential seal on it as they discuss whether it’s okay to torture US citizens. They decide that it is, if they believe they’re terrorists. And then Cheney argues that if you have a one percent doubt that an unfriendly country has nukes, you should act. The recklessness displayed is pure insanity, a point not lost on Oliver Stone who, in one scene, frames Bush in such a way to make him look like General Ripper in Dr Strangelove. The lunatics really are running the asylum.

But while I was impressed with Richard Dreyfuss’ performance as Dick Cheney, other performances fell flat on faces. Jeffrey Wright, while not awful, doesn’t look anywhere near old enough to be Colin Powell and his performance comes over as something of a mediocre imitation of the man. Then you have Ioan Gruffudd in a brief cameo as Tony Blair. He just isn’t smarmy enough. But the worst performance by far is turned in by Thandie Newton as Condoleezza Rice. She plays her like a simpering retard. Newton is always doing this ridiculous face like she’s shitting her knickers and her voice is exaggerated so much that she becomes a caricature. It’s embarrassing.

Thankfully, though, at the centre you have a marvellous performance by Josh Brolin. When the production began, I thought the casting was ridiculous, but Brolin pulls everything off. He manages to make you recoil from the man yet feel sorry for him at the same time. His W. just wants to be liked. He wants to be patted on the back. And with Brolin in the role you get to see replays of famous speeches and incidents that never feel like they’re pure imitations. You really do feel like Brolin becomes George W. Therefore moments in time as shown in the film feel authentic. Just take the scene where George W. can’t give an answer for what he did wrong in Iraq. You really do feel his panic, as the man is briefly forced to deal with something that isn’t in the script.

And the script is what Bush desperately wants to follow. He wants an ending with a curtain call and with applause from everyone. I mean, at the end of Stone’s film we see Bush on a baseball field waiting to catch a ball that never comes back down to Earth. The man got us into a game he can’t finish and there’s no end in sight. Therefore W.’s neat ending is denied him. He won’t be the hero he desperately wants to be.