
Tigershark
1987

1985
Director
Daniel A. Rosenthal, Richard Belding
Runtime
94 minutes
Average Rating
No ratings yetSynopsis
The story opens with Richard Thursby's murder and the abduction of his wife, Janice. Former cop and martial arts expert, Philip Sloane, is retained by family and flies to Manila in search of clues. He's joined by an old friend, Pete Saimi, and Thursby's sister, Cynthia in an adveture which includes a worldwide religious cult, Chinese overlord, a brothel and cave-dwelling cannibal pygmies. Must be seen to be believed!
Overall Score
Limited
Category Breakdown
LGBTQ+ Representation
The film lacks LGBTQ+ characters or non-cisnormative identities. The plot centers on a traditional rescue mission involving a husband and wife, reinforcing conventional romantic structures.
Gender Representation
Gender roles follow traditional hierarchies. Philip Sloane acts as the primary martial arts expert, while female characters are positioned as either victims or secondary companions to the hero.
Racial & Ethnic Diversity
The Manila setting and diverse antagonists provide a global backdrop. However, characters like the Chinese overlord and cannibal pygmies risk being utilized as exoticized tropes for the protagonist.
Religious & Cultural Diversity
The narrative leans into Western adventure tropes. A conflict involving a worldwide religious cult suggests a clash between Western heroism and non-Western belief systems.
Disability Representation
There is no mention of characters possessing visible or invisible disabilities within the narrative.
Strengths
Areas for Improvement
AI Analysis
Sloane is a quintessential 1980s action-adventure film that prioritizes genre tropes over social complexity. The story follows a standard restorative justice arc, focusing on a singular male hero navigating a global landscape of perceived 'others.' While the film utilizes a diverse international setting, it relies on archetypal antagonists that may serve to exoticize non-Western cultures. The narrative structure reinforces traditional masculine leadership and conventional gender hierarchies. Ultimately, the film functions within a framework of traditional adventure cinema, lacking intentional subversion of systemic power dynamics or intersectional representation.

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