--- title: "Jaws" year: 1975 kind: "film" canonical: "https://film.one/film/jaws" fi1m_id: "jaws" imdb_id: "tt0073195" tmdb_id: 578 wikidata_id: "Q189505" fi1m_score: 93 critics_score: 87 critics_reviews: 19 published: "2026-09-12" updated: "2026-09-18T08:37:50.557476+00:00" region: "US" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Jaws (1975) Directed by Steven Spielberg · 2h 04m · MPA PG · Horror, Thriller, Adventure ## Identity Jaws - **Canonical:** https://film.one/film/jaws - **Type:** Film - **Fi1m ID:** jaws - **IMDb ID:** tt0073195 - **TMDB ID:** 578 - **Wikidata ID:** Q189505 - **Same entity:** https://www.imdb.com/title/tt0073195/, https://www.themoviedb.org/movie/578, https://www.wikidata.org/wiki/Q189505 **Fi1m score: 93** · Critics 87 from 19 reviews *In a sentence:* Two hours of watching the water and hoping the music has got it wrong > Steven Spielberg’s *Jaws* is a superb thriller because its people matter as much as its shark. The writing occasionally pushes its point too hard, but the suspense is patient, clear and still frightening. ## Synopsis A shark threatens people at sea in Steven Spielberg’s *Jaws*, with Roy Scheider as Brody, Robert Shaw as Quint and Richard Dreyfuss as Hooper. Fear brings disagreements about authority and self-interest as the people facing the danger try to decide how to respond. The shark remains largely unseen while the film follows those human responses, combining horror, thriller and adventure. Lorraine Gary plays Ellen Brody, Murray Hamilton plays Vaughn and Carl Gottlieb plays Meadows. Gottlieb and Peter Benchley write the screenplay, adapting Benchley’s novel. ## Review *Jaws* works because Steven Spielberg takes the people seriously before asking us to fear for them. The shark supplies the danger, but human vanity and self-interest let that danger grow. We think it is a superb thriller, with excitement that depends on following what is happening and caring who is caught up in it. Peter Benchley and Carl Gottlieb’s screenplay, adapted from Benchley’s novel, gives the characters enough life to hold our attention even when there is nothing threatening in view. Roy Scheider gives Brody a practical sort of fear: he seems determined to remain useful while frightened. That is more engaging than a hero who never looks worried. Richard Dreyfuss makes Hooper’s confidence lively and occasionally irritating, just enough to stop competence becoming dull. Robert Shaw gives Quint a heavier presence, and his relish for the part makes the differences between the three men entertaining before they become sources of tension. The acting supplies much of the film’s humour without making the danger seem less serious. Bill Butler’s cinematography keeps the images readable even when the threat stays hidden. Spielberg encourages us to search the frame, then uses the reverse zoom to make a shock physically disorientating. The effect is conspicuous, but it earns the attention it draws. Joe Alves’s production design makes the boat feel cramped and usable, giving the men little room to avoid one another. Those close quarters help the actors make disagreement uncomfortable without having to raise their voices. Verna Fields’s editing allows apprehension to develop before making the interruption count. She gives the audience time to anticipate trouble without letting that anticipation become idle waiting. We were frightened by the stretches with no shark in sight, because John Williams’s score made us expect movement in water that offered no reassurance. The music keeps directing our attention towards what might happen next. Knowing the music does not tell us when the shark will appear. The writing is less subtle about authority and greed. Benchley and Gottlieb occasionally make the human arguments too easy to settle, leaving little for us to consider beyond how foolishly somebody is behaving. Shaw also pushes Quint towards theatricality at times, especially beside Scheider’s quieter work. Neither fault seriously damages the suspense, though the simpler character moments are more convincing than the insistence on making a point. As a creature thriller, it has the confidence to let conversation occupy time that could have been filled with another scare. That is a useful distinction in a genre where people can become little more than an orderly queue of prospective victims. Spielberg makes their company part of the attraction, then keeps the action clear enough for their predicament to remain understandable. The suspense survives because the film remains interesting between attacks. At 124 minutes, it allows the audience to get properly acquainted with the people who are afraid. That patience is worth more than another glimpse of the shark would be. Watch it with someone who insists that a familiar film cannot frighten them. *Fi1m score 93, published 12 September 2026.* ## What the critics say The reviews are almost unanimous. Most critics call it a near-flawless piece of suspense, and the praise clusters around Spielberg’s direction, above all his decision to keep the shark out of sight and build dread from reaction shots and empty water. The three lead performances, Robert Shaw’s Quint most often, and John Williams’ score come up in nearly every notice, along with the drinking-and-scars scene as the film’s centre. Several critics also credit the film with inventing the summer blockbuster. The spread is narrow. Only one review dissents: the Los Angeles Times, in 1975, finds the film coarse and exploitative, too reliant on gruesome attacks, and objects to its PG rating. Collider admires it as a thriller but ends up rooting for the shark, unhappy at what the film did to the reputation of real ones. A few of the older notices are cooler, calling it cracking entertainment rather than anything more, but nobody else calls it a failure. ## Straight answers **Is Jaws worth watching?** *Jaws* is worth watching for anyone who enjoys a thriller that cares about its people as much as its monster, and we scored it 93. Steven Spielberg keeps the shark largely unseen and builds the fear from John Williams's score and the men on the boat, so the long stretches without an attack are the most frightening. Only the arguments about authority and greed are handled too bluntly. **How long is Jaws, and what is it rated?** *Jaws* runs 2h 04m and is rated PG by the MPA in the US. It is a horror and thriller film. **Where can I watch Jaws in the US?** *Jaws* is streaming on Netflix in the US, and it is also available to rent from Amazon Prime Video and Apple TV from $3.99. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Jaws, and is it suitable for children?** *Jaws* is a PG in both the UK and the US, but it is a horror thriller and still frightening, and younger or nervous children may find it too much. The shark is rarely shown, so the fear comes from waiting and from the music rather than from gore on screen. Teenagers and adults who can take sustained suspense should be fine. **How does Jaws compare to The Wages of Fear?** *Jaws* and [*The Wages of Fear*](https://film.one/film/the-wages-of-fear) both build suspense from working men in close quarters with something that can kill them, but the earlier film is the harder and more patient of the two. Clouzot's long wait in town tests the nerves before the journey begins, while Spielberg keeps the humour and the company of his three men as part of the pleasure. We recommend both, and *Jaws* is the easier evening. **Is Jaws based on a true story or a book?** *Jaws* is based on Peter Benchley's novel, not on a true story, with Benchley and Carl Gottlieb adapting it for the screen. We think the screenplay gives the characters enough life to hold attention between attacks, so knowing the book is not necessary to follow or enjoy the film. **What should I watch after Jaws?** After *Jaws*, try [*The Wages of Fear*](https://film.one/film/the-wages-of-fear) (1953, Fi1m 90): Working men, dangerous machinery and suspense built from movements too small for comfort. Then [*The Birds*](https://film.one/film/the-birds) (1963, Fi1m 86): Familiar surroundings become frightening through patient observation and an enemy without an explanation; and [*Tremors*](https://film.one/film/tremors) (1990, Fi1m 82): A concealed creature, useful supporting characters and jokes that sharpen the danger. ### Reviews we read (19) - **Radio Times**, Alan Jones (5/5): The critic hails it as the scariest sea saga ever filmed and a classic of suspense that launched the summer blockbuster era, praising Spielberg's direction, the lead performances and the score's tension-building power. [Read](https://www.radiotimes.com/movie-guide/b-qnbevd/jaws/) - **Time Out**, Tom Huddleston (5/5): The critic calls it a complete and flawless film where every element from plot to score works impeccably despite troubled production, establishing it as the origin of the modern blockbuster. [Read](https://www.timeout.com/movies/jaws) - **The AV Club**, Scott Tobias (A): The critic hails Jaws as a demonstration of Spielberg's intuitive gifts as a filmmaker. It singles out the director's masterful use of off-screen space, reaction shots, and misdirection over explicit effects for building tension. [Read](https://www.avclub.com/jaws-1798173853) - **Empire**, Mark Dinning (90/100, inferred): The critic praises Jaws as Spielberg's breakthrough and the first summer blockbuster, highlighting its visceral terror, suspenseful unseen shark, and masterful direction including the reverse zoom and score. Production difficulties are noted but the final result is seen as a film of immense power that has lost none of its ability to terrify. [Read](https://www.empireonline.com/movies/reviews/empire-essay-jaws-review/) - **RogerEbert.com**, Roger Ebert (90/100, inferred): Steven Spielberg’s “Jaws” is a sensationally effective action picture and scary thriller that succeeds because it populates the story with developed, relatable human characters. The critic singles out the strong performances, particularly Richard Dreyfuss, and the brilliant, clean-cut storytelling for praise. [Read](https://rogerebert.com/reviews/jaws-1975) - **Slant Magazine**, Chuck Bowen (90/100, inferred): The piece celebrates Jaws as a pop masterpiece and happy accident that restructured Hollywood. It praises the film's sly storytelling, attention to working-class detail, and harmonious blend of controlled and chaotic elements as the source of its lasting power. [Read](https://www.slantmagazine.com/film/jaws-50th-anniversary-steven-spielberg/) - **The Hollywood Reporter**, Arthur Knight (90/100, inferred): The critic calls Jaws a perfectly constructed horror story and one of the most gripping adventure tales on screen, praising Spielberg's direction, the performances especially by Robert Shaw, and the effective use of unseen menace and editing. [Read](https://www.hollywoodreporter.com/movies/movie-news/jaws-review-original-1975-movie-799461/) - **The New Yorker**, Michael Sragow (90/100, inferred): The critic hails the restored film as an unassumingly great work by a young Spielberg who turned a creature feature into something richer with humor, character depth, and inventive suspense. It singles out the ensemble performances and the way the movie balances terror with summery, satirical warmth. [Read](https://www.newyorker.com/culture/culture-desk/the-unassuming-greatness-of-jaws) - **The New York Times**, Dave Kehr (90/100, inferred): The review celebrates the restored Blu-ray edition of the 1975 blockbuster that redefined summer moviegoing with its wide release and marketing. It praises Spielberg's direction and notes the film's lasting cultural impact without digital enhancements to the shark. [Read](https://www.nytimes.com/2012/08/12/movies/homevideo/jaws-seminal-blockbuster-now-on-blu-ray.html) - **Variety**, A.D. Murphy (90/100, inferred): “Jaws” is an artistic and commercial smash that delivers consummate suspense, tension and terror through expert direction and a literate screenplay. The review singles out the assured logistics and drama from Spielberg along with excellent lead performances by Scheider, Shaw and Dreyfuss for praise. [Read](https://variety.com/1975/film/reviews/jaws-1200423515/) - **The Guardian**, Derek Malcolm (80/100, inferred): The critic finds Jaws a cracking good piece of entertainment and a shrewd cinematic equation that delivers nasty turns at the right moments while knowing when to hold back. He praises Spielberg and the team for technically challenging the film with clarity and panache while concentrating on the basics of good storytelling rather than trying to transcend its limitations. [Read](https://www.theguardian.com/film/2016/dec/22/jaws-steven-spielberg-1975-review-derek-malcolm) - **Los Angeles Times**, Charles Champlin (30/100, inferred): The original review faults the film as coarse-grained and exploitative, overly reliant on graphic violence and excess for impact, and criticizes the misleading PG rating. It singles out the gruesome shark attacks and weak script elements for complaint while acknowledging some effective tension. [Read](https://www.latimes.com/entertainment/herocomplex/la-et-hc-jaws-original-review-20150619-story.html) - **Collider**, Therese Lacson (A-): The critic found the film effective as a thriller but ended up rooting for the shark and viewing the ending as a tragedy rather than triumph, due to its real-world impact on shark perception. [Read](https://collider.com/jaws-review-imax-release/) - **Digital Spy**, Simon Reynolds (90/100, inferred): The critic calls Jaws a masterclass in blockbuster entertainment and a tense, exciting thriller that redefined contemporary cinema. They single out the raw, relatable terror from the concealed shark, John Williams' score, strong performances (especially Scheider, Shaw, and Dreyfuss), and smart observations on authority and greed. [Read](https://www.digitalspy.com/movies/a387349/jaws-review-steven-spielbergs-shark-classic-returns-to-uk-cinemas/) - **HeyUGuys**, Cai Ross (90/100, inferred): The critic celebrates Jaws as a modern classic that changed Hollywood by launching the summer blockbuster era and blending New Hollywood character work with disaster-movie thrills. They single out the memorable ensemble cast and the way the malfunctioning shark forced stronger performances and storytelling. [Read](https://www.heyuguys.com/jaws-at-50/) - **The Ringer**, Adam Nayman (90/100, inferred): The critic hails Jaws as the perfect blockbuster that works equally as a thrilling shark attack movie or a biting allegory about institutional failure and economic priorities. He singles out the rich character work and memorable supporting performances, especially Robert Shaw's Quint, for deepening the film's impact beyond its scares. [Read](https://www.theringer.com/2020/06/18/movies/jaws-steven-spielberg-summer-blockbuster) - **Eye for Film**, Chris (85/100, inferred): The critic calls Jaws a well-made, nuanced gamble that paid off and assured Spielberg's future. They single out the iconic characters, inventive camerawork including the dolly zoom, and John Williams' ominous score for praise. [Read](https://eyeforfilm.co.uk/review/jaws-film-review-by-chris) - **Polygon**, Brian VanHooker (85/100, inferred): The piece celebrates Jaws as a still-thrilling classic whose tension and entertainment value hold up decades later thanks to its restrained approach to the shark and strong lead characters. It highlights the famous drinking-and-scars bonding scene among the three leads as a standout example of the film's character-driven appeal amid the suspense. [Read](https://www.polygon.com/jaws-streaming-netflix-september-2026/) - **The Skinny**, John Bleasdale (80/100, inferred): The critic praises Jaws as an effective and original thriller that remains fresh and terrifyingly memorable, crediting its invention of the summer blockbuster format along with strong characters and John Williams' score. They single out the USS Indianapolis monologue and ad-libbed lines for particular note. [Read](https://www.theskinny.co.uk/festivals/edinburgh-festivals/film/how-steven-spielberg-s-jaws-changed-cinema) ## Details - **Director:** Steven Spielberg - **Director:** Steven Spielberg - **Screenplay:** Carl Gottlieb, Peter Benchley - **Novel:** Peter Benchley - **Cinematography:** Bill Butler - **Editor:** Verna Fields - **Music:** John Williams - **Production design:** Joe Alves - **Producer:** Richard D. Zanuck, David Brown - **Cast:** Roy Scheider as Brody; Robert Shaw as Quint; Richard Dreyfuss as Hooper; Lorraine Gary as Ellen Brody; Murray Hamilton as Vaughn; Carl Gottlieb as Meadows; Jeffrey Kramer as Hendricks; Susan Backlinie as Chrissie - **Runtime:** 2h 04m - **Certificate (MPA):** PG - **Release (the US):** 20 June 1975 - **Genres:** Horror, Thriller, Adventure - **Also in:** [Best Picture winners](https://film.one/collections/oscar-best-picture.md) (Nominee, 1975); [BAFTA Best Film winners](https://film.one/collections/bafta-best-film.md) (Nominee, 1975); [Golden Globe Best Drama winners](https://film.one/collections/golden-globe-drama.md) (Nominee, 1975); [Films where the soundtrack is the real star](https://film.one/collections/soundtrack-is-the-star.md) - **Budget:** $7 million - **Box office:** $471 million - **Trailer:** https://www.youtube.com/watch?v=N9hzLQUGr34 ## Where to watch in the US - Netflix: streaming - Amazon Prime Video: rent $3.99, uhd - Apple TV: rent $3.99, hd - Amazon Prime Video: buy $14.99, uhd - Apple TV: buy $14.99, hd *Checked 2026-09-12.* Also available in: AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, IE, IL, IN, IT, JP, LT, MX, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, SK, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country. ## Awards - Academy Awards 1976: Best Picture (nominated); Best Film Editing (won); Best Original Dramatic Score (won); Best Sound (won) ## If you liked this - *The Wages of Fear* (1953), Fi1m 90: Working men, dangerous machinery and suspense built from movements too small for comfort — [Fi1m page](https://film.one/film/the-wages-of-fear.md) - *The Birds* (1963), Fi1m 86: Familiar surroundings become frightening through patient observation and an enemy without an explanation — [Fi1m page](https://film.one/film/the-birds.md) - *Duel* (1971): Another ordinary man faces a threat that refuses to be reasoned with - *Tremors* (1990), Fi1m 82: A concealed creature, useful supporting characters and jokes that sharpen the danger — [Fi1m page](https://film.one/film/tremors.md) - *The Host* (2006): A creature attack exposes official incompetence while a disorderly family earns our concern --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/jaws