生化制药厂的老板Franklin(塞缪尔·杰克逊 Samuel L. Jackson 饰)提供大量资金供让Susan McAlester博士(萨弗蓉·布罗斯 Saffron Burrows 饰)研究抗老年痴呆症的药物。Susan和研究小组在设备精良的海底研究中心,提取鲨鱼脑中蛋白质,注入坏死的人类脑细胞。为了可以提取到萃取更多的鲨鱼脑蛋白,Susan也同时加大了鲨鱼们的脑容量。这一举动让本来作为试验品的鲨鱼们变得更为强壮和聪明。鲨鱼专家Carter(托马斯·简 Thomas Jane 饰)因和鲨鱼们朝夕相处时发现了鲨鱼们的异样,并向Susan提出了警告,却得到了Susan的无视。终于,在最后一次验中,那些曾经沦为人类试验品的凶残鲨鱼们向人类展开报复
Wunder der Schöpfung is an extraordinary, fascinating Kulturfilm trying to explain the whole human knowledge of the 1920s about the world and the universe. 15 special effects experts and 9 cameramen were involved in the production of this film which combines documentary scenes, historical documents, fiction elements, animation scenes and educational impact. It its beautifully colored, using tinting and toning in a very elaborated way. Some visual ideas in the sequences with a space shuttle visiting different planets in the universe seem to have to be the inspiration for Stanley Kubrick's 2001 A Space Odyssey. In the context of Germany's Kulturfilm phenomenon, Wunder der Schöpfung was among the greatest achievements of the 1920s. The production was constructed, rehearsed, and shot over a period of two and a half years, under the supervision of Hanns Walter Kornblum. The idea to describe the universe and man's place in it well suited UFA's Grossfilm mentality, one year before the Metropolis catastrophe. Hundreds of skilled craftsmen participated in the project, building props and constructing scale models drawn by 15 special effects draughtsmen, while 9 cameramen in separate units worked on the historical, documentary, fiction, animation, and science-fiction sequences. Without star roles or even protagonists, the film's plot is crowded with meticulously structured and skillfully acted single scenes an artful mosaic of small vignettes. No less than four credited university professors ensured the factual background behind the scientific and historical events portrayed. The film's symbol of progress and the new scientific era is a spacecraft, travelling through the Milky Way, making all the planets and their inspiring worlds familiar to us, with the extravaganza of their distinctive features. The film's educational intentions, however, become steadily more obscure, humorous, or even campy as this popularization project proceeds. With the excuse of presenting the end of the world a not-so-new concept as a new, undeniably scientific truth, the film veers happily along a new path, displaying detailed apocalyptic scenes of the end of mankind. For today's audiences, this amazing film demonstrates how the universe was comprehended in the 1920s, and how that view was sold to contemporary audiences.