Sean Byrne
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Connections, in both directions
It would be tempting to say that “Dangerous Animals” is “Silence of the Lambs” via “Jaws.”
Dangerous Animals is no Jaws (1975). What films are?
…la icónica «Jaws» (1985)…
…the more entertainingly unpredictable aquatic hunters of shark horrors like The Meg, The Shallows and, of course, Jaws…
Para los que siempre han deseado ver en el chiringuito un "mashup" de 'Tiburón', 'Saw' y 'El silencio de los corderos'…
It’s a gruesomely clever mash-up of Jaws, The Silence of the Lambs, and Ozploitation grit…
Wolf Creek (2005)
Directed by Greg McLean
influenced Dangerous Animals (2025)
Themes Plot Characters
Byrne’s film has drawn comparisons to Wolf Creek, but that’s a major disservice to the Tasmanian filmmaker. Greg McLean’s 2005 film is exploitative, misogynist garbage…
A dash of Creep, a sprinkle of Wolf Creek, equal parts The Reef and Deep Blue Sea 3, and a healthy dose of psychological darkness are the ingredients that help Dangerous Animals swim out ahead of the rest of the school.
…especially if you know what the term “Final Girl” means or have seen survival movies like “Wolf Creek” or “The Descent.”
…he owes a fair bit to John Jarrett’s Ivan Milat-inspired monster in the Wolf Creek films…
…more like a merger of Irving Pichel and Ernest B Schoedsack’s The Most Dangerous Game (1932) and Greg McLean’s Wolf Creek (2005)…
…reminiscent of the cool but chilling Mick Taylor in another nasty Australian export, Wolf Creek…
The Silence of the Lambs (1991)
Directed by Jonathan Demme
influenced Dangerous Animals (2025)
Themes Visuals Characters
It would be tempting to say that “Dangerous Animals” is “Silence of the Lambs” via “Jaws.”
It’s a gruesomely clever mash-up of Jaws, The Silence of the Lambs, and Ozploitation grit…
It’s a highly memorable, slightly sexy, and vaguely uncomfortable moment that evokes Buffalo Bill’s dance in The Silence of The Lambs…
It feels like Lepard is channeling Dean Koontz’s “Intensity” here, intermingled with Buffalo Bill from “Silence of the Lambs.”
It was not on anyone’s bingo card that Courtney would deliver a performance as memorable as Ted Levine did in “The Silence of the Lambs” (1991) as Jame Gumb or Buffalo Bill.
Jai Courtney’s rugged, bearded, and charismatic killer shares DNA with an array of horror icons like Mick of Wolf Creek (dir. Greg McLean, 2005) and Buffalo Bill of The Silence of the Lambs (dir. Jonathan Demme, 1991)–equally terrifying and entertaining to watch.
«The Shallows» (2016)…
…the more entertainingly unpredictable aquatic hunters of shark horrors like The Meg, The Shallows and, of course, Jaws…
Sharks don’t actually have the petty gene to drive the serial violence seen in Jaws or The Shallows…
…criticising their film The Shallows and its negative, unrealistic depiction of sharks as being simply vicious, opportunistic hunters…
Films like Deep Blue Sea and The Shallows have had fun subverting and participating in the campy tropes that these films offer.
…and 2016’s The Shallows (convincing CGI and a ruthlessly simple premise)…
But, in its sadistic horror, it’s more like “Saw” at sea than anything else.
Para los que siempre han deseado ver en el chiringuito un "mashup" de 'Tiburón', 'Saw' y 'El silencio de los corderos'…
Ever since the introduction of the “Saw” franchise, I have avoided torture porn.
…waking up handcuffed in a Saw-like room…
The movies that obviously inspired Fresh range from the likes of American Psycho , Silence of the Lambs , and the dark disturbing prom night horror in The Loved Ones .
Sequences of dance are also a repeated motif here, as is an ‘80s-heavy power ballad soundtrack, lending the film a dissonant texture that, while different in the particulars, reminds of something like the unhinged lunacy of Sean Byrne’s The Loved Ones.
Or “Henry: Portrait of a Serial Killer” meets “The Meg.”
…the more entertainingly unpredictable aquatic hunters of shark horrors like The Meg, The Shallows and, of course, Jaws…
Shark movies often fall into the categorisation of dumb-but-fun (like the Meg franchise)…
Films like Deep Blue Sea and The Shallows have had fun subverting and participating in the campy tropes that these films offer.
…with just Deep Blue Sea (1999) — the only other sharksploitation movie to also effectively utilize shark animatronics…
As posited by “The Most Dangerous Game”, no species is harder to hunt than man.
…more like a merger of Irving Pichel and Ernest B Schoedsack’s The Most Dangerous Game (1932) and Greg McLean’s Wolf Creek (2005)…
A dash of Creep, a sprinkle of Wolf Creek, equal parts The Reef and Deep Blue Sea 3, and a healthy dose of psychological darkness are the ingredients that help Dangerous Animals swim out ahead of the rest of the school.
Like Mark Duplass’ Creep (Tapes) villain, Tucker has a penchant for taping his victims’ final moments so that he can watch them again over breakfast.
Filmmaker Christopher Landon has been singlehandedly dominating this field with “Heart Eyes” (2025) and “Drop” (2025)…
(The song has now shown up twice in a horror movie this year, following Christopher Landon’s Drop, which could be a sign of a burgeoning trend)…
…the tropes we’ve come to expect from well-crafted horror movies like “The Shining,” “Misery” and “Split,”…
Henry: Portrait of a Serial Killer (1986)
Directed by John McNaughton
influenced Dangerous Animals (2025)
Themes
Or “Henry: Portrait of a Serial Killer” meets “The Meg.”
…the tropes we’ve come to expect from well-crafted horror movies like “The Shining,” “Misery” and “Split,”…
…a splash of Hard Candy in the psychological warfare…
Leviticus pertenece a una tradición particularmente fértil del cine australiano de terror, heredera de películas como The Babadook, The Loved Ones, Cargo y Talk to Me.
A dash of Creep, a sprinkle of Wolf Creek, equal parts The Reef and Deep Blue Sea 3, and a healthy dose of psychological darkness are the ingredients that help Dangerous Animals swim out ahead of the rest of the school.
The Girl with the Dragon Tattoo (2011)
Directed by David Fincher
influenced Dangerous Animals (2025)
Visuals
The result is something like The Girl with the Dragon Tattoo at sea—slick, stylish, and nihilistically intense.
There’s also a sibling-like feel, from tone to superfluous beats, with Jonas Akerlund’s much-maligned Horsemen (2009) and Sean Byrne’s The Devil’s Candy (2015). That said, and more than anything else, the film feels most like a Perkins joint, one where meticulous, attractive cinematography is met with an equally meticulous slow-burn of a pace.
This isn’t The Shape of Water: Red Flag Edition…