Archive for SyFy

SHARKNADO (2013)

Posted in "So Bad They're Good" Movies, 2013, Action Movies, All-Star Casts, CGI, Garrett Cook Articles, Sea Creatures, Sharks, SyFy Channel Movies, TV-Movies, Visions of Hell with tags , , , , , on July 28, 2013 by knifefighter

SHARKNADO
Movie Review by Garrett Cook

PHvf6lEANnmQyD_3_mThe lifeblood of any narrative is conflict. Without conflict, you have a bunch of people standing around staring into space, waiting. When they start waiting, conflict occurs. The conflict being, uninteresting as it is, that what needs to happen hasn’t happened yet. Good conflicts make good stories. The more you throw at your hero and the hero has to get out of, the better and more exciting their situation. But what do you do when competing with the Hollywood event picture and Sundance Channel juvenile delinquency/Palm D’0r-grubbing adversity porn, who have cherry picked the worst things to happen to everyone? WAGES OF FEAR (1953) . SOPHIE’S CHOICE (1982). FLOWERS IN THE ATTIC (1987). THE DAY AFTER TOMORROW (2004). Those are big, juicy conflicts.

SyFy’s solution? Revive the giant bug/giant shark/giant alligator/giant problem movie. Sharktopi, Dinocrocs and Supergators have a way of knocking the wind out of a crying Meryl Streep for an hour and a half or so, and, if you’re looking to unwind after work, they’re generally more fun. They are by no means good by any conventional standard, but at least they have that going on.

Recent SyFy spectacle SHARKNADO took this principle and really ran with it. A hurricane off the coast of LA picks up 20,000 sharks. JAWS (1975)? One huge shark. OPEN WATER (2003)? A few sharks. These situations presented gigantic problems for the heroes who had to make it out of them alive. But 20,000 sharks? That’s a real problem. Not just for the heroes, but for you, the reader/potential SHARKNADO viewer. 20,000 sharks are dangerous enough to kill 90210’s Ian Ziering…oh, 20,000 times and enough of a spectacle that they leave you, potential SHARKNADO viewer, in danger of making what might be a terrible decision.

Is it a terrible decision? That’s what you’ve probably clicked on this article to find out. You want to know if it’s worth trading 100 minutes of your time for the experience of Ian Ziering and Tara Reid having to deal with sharks falling from the sky. Some of you, having seen the premise of the film restated will now stop sitting on the fence and decide to go watch SHARKNADO. Good. SHARKNADO was unequivocably made for you, thesis statement/pitch line enthusiast. But you might need actual info. Person who keeps reading to gather more data, SHARKNADO might be a little more challenging for you.

SHARKNADO begins with a corrupt sea captain, who you will never see again, brokering a deal with a shady Asian man to sell him 20,000 sharks. Does this deal precipitate the sharknado (no very dry pun intended)? No. Maybe. The shady Asian man and the captain are killed, the Asian man by the captain, the captain by the very sharks he sought to sell. Which actually makes you wonder if Anthony Ferrante and Thunder Levin (the director and writer of the film, respectively) stopped to make a sanctimonious finger wag at the practice of eating shark fin soup. Because right after we see mankind treating sharks badly, the sharks get caught up in a hurricane and start to be blown around, as if God himself were an angry shark.

This scene leaves you wondering whether SHARKNADO believes that the sharks are justified in their attacks because of our consumption of shark fin soup, whether the director has some sort of divine justice in mind, and whether this movie was made by poets or naifs. It is hard to tell. This is not the only time this occurs and of course, it’s a common phenomenon in really awful movies, like SHARKNADO, which is a movie that sucks.

This intro transitions into scenes introducing our hero, surfing bartender Fin (groan), played by 90210 non-favorite Ian Ziering (the blonde guy who looked like he’d been held back seven grades). He bartends, and he surfs. His Australian friend Baz (played by Jaason Simmons, whose name’s extra A stands for Awesome, because he is, in spite of this material) surfs with him but does not do much bartending. Possibly none. Adorable waitress Nova (the wooden, but sublimely hot, Cassie Scerbo) pours drinks for non-hot but adorable drunk, George (played by John Heard, from HOME ALONE (1990), C.H.U.D. (1984) and serious films from the early 80s), and life looks good, save for Fin’s estrangement from ex wife April (Tara Reid). I say good riddance, but as Flaubert writes, “the heart wants what it wants”. Fin and Baz go surfing, Baz is bitten by a shark and Fin sees signs that there is a hardcore hurricane on the way and he should get his daughter and son to high ground. He returns to the bar, calls up April, who says not to bother and that her slimy new boyfriend takes care of the family now. Fin decides maybe he’d better go save his daughter.

His intuition proves right when he sees that the hurricane is getting stronger, picking up sharks and dropping them on people. Which is a tremendous problem. It’s a big, juicy conflict that does not involve cancer, drug addiction, Nazis or Kryptonians. At least give it that much. George, the loveable drunk, is killed, Nova reveals that she is skilled with a shotgun and Fin and Baz kill many sharks. It’s a pretty intense scene, the sharks are pretty well rendered and it establishes a sense of urgency. It also begins to wag its finger at the harshness and lack of consideration that LA can have.

Arriving at his ex wife’s place of residence with her slimy L.A. boyfriend, Fin is reprimanded by her, her boyfriend and his sullen daughter, Claudia (Aubrey Peebles), who is sullen because she’s a teenager and it’s a liability. Due to a prodigious flood, the problem quickly swims up and bites the boyfriend in the ass for being an LA phony. It is hard to tell whether the writer and director believe that Hollywood is unsympathetic or think that America believes that Hollywood is unsympathetic. This question might seem moot, but is actually very important in determining whether SHARKNADO has shades of GLEN OR GLENDA (1953) bad- film-with-a-heart brilliance or whether it is actually pandering just as badly as one would have to assume it is.

Either way, Los Angeles is facing sharky judgment and Ian Ziering needs to find his son, who it turns out is in flight school. This initiates the film’s second act, which is weirder and more judgmental of Los Angeles culture and by extension, the film industry. In an abandoned flooded cityscape full of sharks, the movie takes on an air of “MULHOLLAND DRIVE meets BIRDEMIC” that might make this movie worth watching for curious film geeks and Bizarro fans. You see a bus driver who has come to town to be an actor and ends up being eaten for it, and hear a weird rant from a paranoid shopkeeper. There is something off kilter about these scenes in a way that transcends bad dialogue. Are these weird grains of sincerity shining through?

During these scenes, you get to experience the thing I really like about SHARKNADO, or just the idea of SHARKNADO. Tornados of sharks are spinning around Los Angeles eating people and a man has taken it upon himself to resolve this. The biggest, most senseless conflict imaginable and Ian Ziering will brave it to reach his son and save a city that the movie implies might not be worth saving. SHARKNADO parallels the experience of being a small budget filmmaker, a person dealing with a ubiquitous shitstorm using only courage and ingenuity and sometimes chainsaws. Saddled with a less than stellar premise, a talentless cast and a sub blockbuster budget, these filmmakers had to create something people would enjoy. Does Fin do a better job of it than the directors, writers and cast of SHARKNADO? Yeah. But that’s why we create heroes.

Somehow in quixotic combat with hopelessness, the hero wins the day, making this the most recklessly optimistic film ever made. “Will people watch a film called SHARKNADO with the least popular 90210 actor at the helm? YES!” “Can a man take on a Sharknado? YES!” “Can a coherent film be made about a Sharknado?” “YES!” These guys do Ed Wood proud. With the negativity, the cynicism and the constant barrage of bad news around us, a little optimism is a good thing. Sometimes too much optimism is a good thing. If enthusiasm is more important to you than success, you ought to watch SHARKNADO.

But you probably shouldn’t, anyway. SHARKNADO sucks.

© Copyright 2013 by Garrett Cook

MEGAPIRANHA!

Posted in 2011, Animals Attack, Giant Monsters, Monsters, Mutants!, Pickin' the Carcass, SyFy Channel Movies with tags , , , , , , , , on February 17, 2011 by knifefighter

PICKIN’ THE CARCASS: MEGAPIRANHA (2010)
By Michael Arruda


It’s just not a good time to be a piranha.

After PIRANHA 3D (2010) topped my list as the worst theatrical horror release of 2010, here comes MEGAPIRANHA (2010) courtesy of the SyFy Channel which, by all accounts, is—even worse. How can you get lower than zero? We’re into negative numbers, I guess.

First of all, I already know what you’re thinking: why in the world would you bother with an original SyFy movie? Good question, and I don’t really have a good answer, except that this one starred Barry Williams from “The Brady Bunch!” I know, that’s really not such a good reason. My only other defense is that I’m a sucker for giant monster movies, and so I continue the elusive search for a good giant monster movie. After watching MEGAPIRANHA on DVD, the search goes on.

The movie opens in Venezuela with a boatload of people meeting their gruesome deaths at the teeth of vicious piranha in a scene that is about as dull and unexciting as a death scene featuring hungry piranha can be. Turns out that one of the victims was a U.S. ambassador, and the reports coming out of Venezuela are that the ambassador was assassinated.

Enter Secretary of State Bob Grady (Barry Williams) (who knew that Greg Brady would grow up to become Secretary of State!) who vows to get to the bottom of this mystery. He sends in military man Jason Fitch (Paul Logan) to find out just exactly what happened in Venezuela. Fitch looks like he was kicked out of Sylvester Stallone’s THE EXPENDABLES for being too nice!

Fitch hooks up with beautiful scientist Sarah Monroe (former pop star Tiffany) and they promptly fall in love (gee, that’s believable!). Monroe informs Fitch that she and her buddy scientists had been in the process of experimenting with genetic mutations in order to help the food supply for the world’s hungry— ah, such noble scientists— when they accidentally created a genetically mutated piranha— ah, such careless scientists. Not to worry, Sarah and her buddies destroyed the monster piranha, or so they thought. Turns out their deadly creations are on the loose and doubling in size ever few hours. Not only that, but they’re heading for Florida— mega piranhas’ destination of choice for Spring Break— unless Sarah and Fitch can stop them.

And it won’t be easy, because there’s a disgruntled South American Colonel (David Labiosa) who’s out to stop our heroes at every turn, because it seems, that’s what disgruntled South American colonels do.

What I want to know is, if the scientists were working on improving the food supply, what the heck were they doing experimenting on piranhas? I mean, who the hell eats piranhas? — ah, stupid, stupid scientists.

So, that’s the plot. The piranhas get bigger and keep attacking people, Fitch and Sarah invent ways to stop the piranhas from reaching Florida, ways that continually fail because the piranhas do reach Florida, and the evil colonel and his soldiers invent ways to stop Fitch and Sarah, ways that also continually fail, as Fitch and Sarah also make it to Florida.

From start to finish, MEGAPIRANHA is a mega mess.

The acting is horrible. Paul Logan as Jason Fitch looks like he should be playing a spoof of his character. He looks like he signed up to star in SCARY MOVIE 23 or something, as if he’s waiting for the script to be funny. As Sarah Monroe, Tiffany is pretty much awful.

Then there’s Barry Williams, Greg Brady himself, as the Secretary of State. Williams isn’t half bad, and he’s actually one of the better actors in the movie. Too bad I don’t believe he’s Secretary of State. That I never bought. Had he been some businessman interested in purchasing giant piranha, yeah, that I could have believed, but Secretary of State? Nope.

And his performance as the Secretary of State isn’t helped by the fact that nearly every time we see him, he’s alone. He’s talking to Fitch on his cell phone in his car; he’s alone. He’s walking along the street talking to Fitch on his cell phone; he’s alone. He’s the friggin Secretary of State! Where’s his entourage? Security personnel? Aides? The press?

That’s really the biggest problem with MEGAPIRANHA. It’s not believable in the least. Sure, I suppose you could argue that a movie about giant piranhas is not supposed to be believable, but it’s no secret, that the best horror films, regardless of their plot, are the ones that make the audience believe in what’s going on. To do that, you need convincing acting, which this movie doesn’t have, good writing, and creative directing, two other things this movie doesn’t have.

MEGAPIRANHA was written and directed by Eric Forsberg, so he gets to take the heat for both the lousy script and weak direction. The screenplay is plain awful, sorry to say. The dialogue is phony and the story just as bad.

Direction? Not very much. There’s not a memorable scene to be found, and the pacing is horrible. It just moves from one scene to another without any sense of dramatic build-up. I thought I was watching a bunch of commercials strewn together. I wasn’t drawn into this story at all.

I hate to be so critical, but in this business I have to call it like I see it, and in this one, I didn’t see much. Maybe Forsberg needs to do more rewrites before he films his next movie.

The CGI special effects are as fake-looking as you would expect in a SyFy movie. I’ve seen better visuals on my screen saver.

Skip MEGAPIRANHA. There’s nothing of value here.

About the only thing this flick is good for is fish bait.

—END—

© Copyright 2011 by Michael Arruda