Melanie Daniels is the modern rich socialite, part of the jet-set who always gets what she wants. When lawyer Mitch Brenner sees her in a pet shop, he plays something of a practical joke on her, and she decides to return the favor. She drives about an hour north of San Francisco to Bodega Bay, where Mitch spends the weekends with his mother Lydia and younger sister Cathy. Soon after her arrival, however, the birds in the area begin to act strangely. A seagull attacks Melanie as she is crossing the bay in a small boat, and then, Lydia finds her neighbor dead, obviously the victim of a bird attack. Soon, birds in the hundreds and thousands are attacking anyone they find out of doors. There is no explanation as to why this might be happening, and as the birds continue their vicious attacks, survival becomes the priority. Written by
At the end of the movie when Mitch gets in Melanie's car to take it out from the garage, he closes the window of the car. After a minute when he gets of the car in front of the garage the window is open. See more »
Unfortunately, the self-styled Master of Suspense is the Master of Pretentiousness in this one. The "I'm an auteur now, as you can see by slooow pacing, the waxy, masklike stares of my blonde, and my deliberately withholding from any character the faculty of reason."
Main-character Melanie, the Paris Hilton of her day (did she or didn't she skinny dip in a Roman fountain? Oooh, titillating!) has absolutely no affect to her voice--in every line, she channels Lauren Bacall on barbituates. The women all hate each other instantly and are each fixated on "Mitch," a hubba-hubba guy with no chemistry. The cute meet is stupid; the melodrama is boring; there is no suspense because, between deadly attacks, people seem to forget the trauma of the birds--after a harrowing encounter, the mother rambles on about missing her husband and not knowing whether she likes Hubba's new relationship, for example.
In short, this would be excellent, excellent fodder for Mystery Science Theater--just the right level of movie-making competency and retardness to make for gleeful ridicule.
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