Director: Joe Dante
Words: O. Innocent
The runaway success of Steven Spielberg’s Jaws (1975) changed a lot of things; the way movies are marketed, the summer blockbuster formula, public perceptions on sharks and swimming in the sea. It also popularised animal horror, inspiring a spate of clones scrambling to make their titular beasts the next big thing. When Jaws blew the floodgates open, all manner of creatures both great and small were awarded their own starring roles. Of course, there were a lot more sharks to be found with the likes of Mako: The Jaws of Death (1976), Tintorera: Tiger Shark (1977) and The Last Shark (1981) openly aping Spielberg’s killer shark formula. Taking to the land to dissuade us from making comparisons to Jaws were Grizzly (1976), Day of the Animals (1977) and Prophecy (1979). Not convinced that sharks were the scariest things swimming about in the ocean, other filmmakers brought us such self-explanatory sea creature titles as Orca: The Killer Whale (1977), Tentacles (1977) and Barracuda (1978). While the aforementioned films can no doubt provide hours of schlocky entertainment, perhaps the best of the bunch is Joe Dante’s Piranha (1978), where the eponymous fish, mutated as a military experiment, are accidentally let loose to ravage a rural riverside community.
The perfect coalescence of producer Roger Corman’s fast-paced bang for your buck exploitation entertainment and director Joe Dante’s witty referential humour, Piranha stands as a shining example of low-budget B-Movie filmmaking done right. Corman and Dante know they can’t top Jaws so they each address this problem in their own inimitable way. Knowing that a film like Piranha can never match a highly regarded quality film like Jaws, Corman simply ups the exploitation quota, providing blood, nudity and high-octane action aplenty. Indeed, while the film doesn’t have the sheen or money of Jaws, what it does have is action, and lots of it; there are car chases, boat stunts, explosions, and scenes of mass fish-related hysteria and the ensuing bloody feeding frenzies to distract from the low-budget. Dante, on the other hand, solves the problem by embracing the fact that his film is a Jaws rip-off, and not taking the admittedly ridiculous premise too seriously. Letting us in on the joke from the offset, Dante has one of the characters play a Jaws arcade game, showing us that, yes, we do know we’re copying Spielberg’s film, but we’re going to have a lot of fun doing so. There’s also a scene towards the end of the film where a sunbather is reading Herman Melville’s Moby Dick, further cementing its position as a first-rate pastiche of fish and water-related popular culture.
Talking of riffs on pop culture, Piranha is also an unashamed throwback to the creature feature B-Movies of the ‘50s. Paying ample homage to the monster movies he grew up with, Dante infuses Piranha with the same kind of outlandish exuberance and cheap ‘n’ cheerful excess that made black and white big bug movies like Them! (1954) so enjoyable. With its overblown score, over-the-top characterisations, questionable science and mutated monsters, it is easy to see where Piranha’s influences lie. In turn, Dante’s film has itself proved highly influential, its influence being felt in everything from teen slashers like Friday the 13th (1980) (the lakeside camp setting, teens in peril, copious amounts of bare flesh and bloody wounds, etc.) to later animal horrors like Deep Blue Sea (1999). What’s most interesting about Piranha, however, is how its blending of horror and humour served as a blueprint for much of Dante’s later work, arguably reaching its zenith in Gremlins (1984) and The ‘Burbs (1989).
WATCH IN FULL HERE:
2015 – USA
Director: Joss Whedon
Starring: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, James Spader, Samuel L. Jackson, Don Cheadle, Aaron Taylor-Johnson, Elizabeth Olsen, Paul Bettany, Cobie Smulders, Anthony Mackie
Words: J. Harris
If you were to speak to some of the more die-hard Marvel fans they may try to explain how characters (Spiderman, the X-Men, etc) exist in a different ‘universe’ to one another, this is not the case with The Avengers.
The Avengers Age of Ultron is the second call to action of the Marvel superhero collective, when Tony Stark attempts to jumpstart a global peacekeeping program but creates a being which puts the world under threat.
If you’re new to the Marvel superhero franchise you may want to familiarise yourself with the first Avengers movie, as one of the great things about it was that it gave a crash course in each of the characters, and there are some references to their previous solo adventures here
– the cause of the worlds impending doom for instance stems from an object called the Tesseract captured in the first Avengers film, and the story here does pick up from where the first film left us.
However if you don’t feel like going on an 8 hour Marvel movie marathon through all the individual outings of each of the characters (though the first Thor film is particularly enjoyable), you can enjoy this blockbuster as a standalone feature without any effort.
We’re all familiar enough with characters such as The Hulk (man gets green and angry, green angry man smashes stuff), and unless you’ve been living under a rock for the past 6 years Robert Downey Jr as Iron Man (who is at the centre of the story here) won’t be something new to you.
For those who are a little more Marvel movie familiar you might find some confusion/disappointment with the character Quicksilver who we saw in X-Men Days of Future Past (a standout character not featured enough in the mutant action), isn’t referred to here as a ‘mutant’ but an ‘enhanced’, has a completely different backstory and is played by Aaron Taylor-Johnson who coincidentally starred alongside the X-Men casting of Evan Peters in the film Kick-Ass.
The action sequences, spectacular special effects and performances by a Hollywood A-list cast make this an exciting ride with moments of seemingly unavoidable doom, conflict between the characters themselves with neat dashes of humour thrown in.
This is a movie which deserves an effort be made to watch on the biggest screen possible with with the volume turned all the way up – a good addition to the Marvel Cinematic Universe.