Debbie Does Dallas -- and to this day, is the one joy of children made to learn the cello. The sequels were stuck with trying to make "SHARK! AGAIN!" interesting, and plausible.

The conceit of the second film is the same as the first: A giant shark is eating people off of Amity Island, and nobody will believe Sheriff Brody when he says that's what's happening. In the third movie, nobody will believe Chief Brody's son that a shark

has broken into Sea World and is eating people, presumably because that could never happen anywhere but inside the mind of a crazy person.

"Please note that we haven't even arrived at the most implausible sequel yet."

In the fourth film, Jaws: The Revenge, a fourth shark eats Sheriff Brody's other son in the waters off of Amity Island, because sharks are apparently both capable of swearing blood oaths, and remarkably persistent about carrying them out. And here's where things get really far-fetched.

The Impossibility

The Revenge was impossible in more directions than Escher. Lead actor Roy Scheider refused to return, because the previous disasters had done more aquatic damage than the Exxon Valdez. He went on to make SeaQuest DSV, safe with the knowledge that it now couldn't be the worst thing ever filmed on the ocean.

And Poseidon knows it tried.

After her son is killed by yet another giant great white shark, Ellen Brody leaves Amity Island for the Bahamas, and I'd like to congratulate one of Amity's suicidal bait-monkeys for finally having that idea. Almost as if they're unprepared for the inclusion of logic in a

Jaws sequel, the shark follows her. Did the shark hire a PI? Was there a great white sitting in the back of the plane with an extremely dark hat and glasses? The only question the writers appear to be interested in having answered is, "Holy shit, you're still watching these movies after that Sea World one?"

To be fair, they have a point. The shark is the least threatening fish this side of sushi. It moves like a sock puppet and attacks like a grandmother plugging in a USB key. Meanwhile, the heroes are worse at aquatic combat than flamethrowers. The climax is an estranged mother and son crying at each other on a tiny boat. That's not after the final showdown, that's during it. A franchise couldn't ruin its final showdown worse if the T1000 had suddenly become vulnerable to the power of friendship.

After decades of having everyone close to her eaten by sharks, Ellen has developed the ability to be traumatized by sharks, freezing up and flashing back every time she sees it. This is especially when she's doing something vital like steering the boat. And just like every '80s movie, the stupidest ability possible saves the day! Just before gently prodding the shark with the boat's bowsprit, she flashes back to a sepia-toned clip of the original movie's "Smile you son of a bitch!" So even the flashbacks are impossible because the only living thing to see that immediately became a hundred buckets of oxygenated chum.

And reminding audiences of the original at this point was just cruel.

The impact somehow causes the shark to explode like a blood-filled balloon, thus bringing the franchise to a merciful ending.

Jaws 4 sucks more impossibly than a black hole.

The Quickening explains that immortals originated when the planet Zeist! exiled two treasonous criminals 500 years ago. The planet Zeist! has an immortality-creating teleporter, but they only use it on criminals who want to kill the government. The planet Zeist!'s government is Michael Ironside, who clearly believes this is a Disney movie. There's less ass-kicking than a minesweeper's reunion. Highlander opens with a wrestling match and moves on to a sword fight which explodes a carpark. The Quickening opened with an important message about the environment and moved on to an old man falling asleep at the opera. Connor only uses his psychic powers on Al Gore, then spends 30 minutes of the movie as an old man waiting to die before being attacked by the retarded cousin of the Matrix Twins.

The face of action!

The face of inbreeding!

How many of the following things aren't murdering people with swords: making jokes at a tailor's shop, ruining a Shakespearean play and sacrificing your life to defeat a ceiling fan. If you could even read that sentence you did better than Sean Connery, though at least that last one included blades.

The Quickening is the worst thing to happen to blades since Wesley Snipes' last tax return.

so pointlessly ruined that might actually be what happened.

The movie's big reveal is that aliens can now get pregnant, a plot point so stupid they literally embedded a narrator in the monster to explain it. The new half-human Alien was born fully-formed. That means no egg stage, facehugger, parasitism, chest-burster, double-mouth or horrible penile-facelessness. E.T. was truer to the Alien movies -- at least its xenomorph looked horrifying and the military still wanted to kill it.

Why am I?

The plot ends with Yilrep and Winona Goddamn Ryder (who fits the franchise about as well as a Care Bear) looking sad to be killing an alien. The first three

Aliens take more joy in alien murder than video games. Even Jaws 4 seemed to take pleasure in actually killing the damn thing.

Crank was action movie with all the pointless shit like comic relief and not-killing people removed. And in an unexpected parallel with Twins, all the pointless shit went into an unwanted second one.

High Voltage is the Danny De Vito of action movies.

The Impossibility

The whole point of the first movie was that the main character was going to die within an hour, and he did so as awesomely as possible: falling out of a helicopter, murdering a man on the way down and then falling asleep to death before hitting the ground because it was still the most relaxing thing he'd done all day. After brain-death, he hits Los Angeles cars and tarmac at terminal velocity. Even the sequel's posters admitted he was dead, meaning even the High Voltage advertising couldn't believe what they were advertising.

They solved the impossibility of having a sequel by not giving a fuck. Unfortunately this used up their entire supply of anti-fuck, so they completely fucked the rest of the movie. An offspring hasn't so thoroughly ruined everything about the original since Scrappy Doo. Jason Statham* wakes up after three months even though the brain death problem from the first film hasn't been solved. The movie addresses those questions by making you feel stupid for asking them, and it makes you feel stupid by reminding you that you're watching

Crack 2: High Voltage over and over again.

*Don't even pretend his characters have names.

The original excelled because it had nothing but kickass. They suddenly decided that "foreigners, sluts and Tourette's syndrome" weren't just hilarity incarnate but worth a third of a movie each. Statham suddenly has more annoying sidekicks than Sonic the Hedgehog. The movie spent more time on comic relief than the BBC. Bai Ling's entire character description and motivation was literally "Annoying Whore," and every time the Tourette's character started touretting they played wacky music.

We're here to chew bubblegum and ruin movies, but we can't walk when doing the first.

The first five minutes feature deeply internal shots of Statham before he sodomizes a man with a lubricated shotgun. It's like his career really did die at the end of the first movie and now he's doing porn.

If you want to see this, you want a different kind of "manly action."