Liverpool Sound and Vision Rating *

Cast: Brendon Auret, Thandi Sebe, Cord Newman, Naima Sebe, Tapiwa Musvosvi, Chris Fisher, Meghan Oberholzer, Jonathan Pienaar, Nikita Faber, Caitlin Harty, Charlie Keegan, Jessica Cloete, Marie Cavanna, Paul Gardyne, Wilco Wilkens, Stephen Pankhurst, Joanne Tan.

You have to admire the audacity of some film makers, the sheer boldness of their conviction that sees their vision come to the screen and how they present it to the population. Some will do it with earnestness in their voice, their belief so heavily immersed in their artistic courage, and for that they deserve applause, and others because the sheer experience of pushing the realms of belief to another place is one of absurd brilliance; the quicker we accept that, the less we will have to fear from spending time in the company of what may stagger us, what may anger us, what will make us scratch our heads in perplexed anxiety and questioning reason.

There are bad films as well as awesome encounters, and there are a few which are stretched to even be included in the process, and yet they are visions that arguably should be seen and taken for what they are; at least the people behind them have not denied the chance to be seen and their message heard.

A bad film that is fun to watch for its belief, a film that you stare at in wonder of all things, but come away smiling at because it had the bottle to engage, and in Six-Headed Shark Attack the wonder is overtaken by the scenario of the continuing mutant based prey hunting beast; not only does it deserve attention because it does for B movies what some friendships do for sales of anxiety pills, the relief of seeing something for what it is to be shared, and this film does that with blinding effect.

Not the worst film to ever cross the watcher’s eyes, but one with pride in its delivery, and for that the cast, the crew, and the effects team must be congratulated for keeping it together.

Six-Headed Shark Attack will remind the older audience member of the halcyon days on when the double feature ruled the cinema screen, and we were arguably all the better for it, for in the ability to see cinema of any level being produced it offers hope that we ourselves may one day at least see our words in a light that either edifies, or at least entertains.

A film that does not pose nor claim to be anything other that what it is, and is all the richer for it.

Ian D. Hall