Review: Piranha 3DD

Introduction

This is a post that is a repurposing of an old-school Mini-Review Round-Up post. As stated here I am essentially done with running multi-film review posts. Each film deserves its own review. Therefore I will repost, and at times add to, old reviews periodically. Enjoy!

Piranha 3DD

A film like Piranha 3DD always prompts the question: “Well, what did you expect?” Whether this question is asked in sincerity or sarcastically it is a valid one, as I always strive to judge a film on what it’s trying to be and whether or not it succeeds in that aim. Due to this fact, I have no problem giving disparate films the same grade without ever questioning whether one is better than the other. After all, if you think on it Jurassic Park and Citizen Kane might be two films you like, but no one will ever confuse them with regards to their aims.

So what did I expect from Piranha 3DD? It may be easier to explain what I didn’t expect first. I did not expect anything remotely like Piranha (1978). I didn’t expect to need to have seen the new incarnation of this series to follow this. I expected the film to be silly and strive to land in the so bad it’s good realm based on its premise. I did expect a passable horror story regardless of said fact. Considering that John Gulager was attached, and that I did like Feast, I had some hopes to see this film achieve these aims.

What unfolds instead is a film that you laugh at not with. It’s a film that wants badly to fall into an exploitation mold but it more frequently is an uneasy mix of attempts at such, mainly sex and star exploitation. Both aspects are so poorly handled the film more closely resembles a softcore porn/vanity press hybrid. Yes, the silly, poorly-animated piranha take a backseat in this film to implants, David Hasselhoff and sorry, lazy comedy, which works all too infrequently, especially considering some of the people they wrangled into being in this thing.

Speaking of the people they got in this thing: Christopher Lloyd deserves a medal for being the only redeeming quality this sorry excuse for a film has. In all honesty they would’ve been better served turning the camera on him for 83 minutes and allowing him to improvise, with no rehearsals and no editing. Lloyd is a truly gifted actor and why he ends up in films of this ilk these days baffles me to no end.

What I was expecting, in all honesty, was not nearly as bad as I got. As silly and ill-conceived as the oh-so-thin plot is it also lacks focus. It contains no flair or verve that gives me any cause to forgive it its sins. The key to good exploitation is that the subject matter is the only thing being exploited. This film also exploits its audience, and I was actually very surprised and disappointed that it was the worst thing I’ve seen this year to date.

2/10

Advertisements