Piranha (1978)
Directed by Joe Dante
When flesh-eating piranhas are accidentally released into a summer resort's rivers, the guests become their next meal.
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What critics compared Piranha to
Trevorrow indulges in dino-carnage and it’s closer in execution to Peter Hyams’ The Relic , Joe Dante’s Piranha or any monster nasty with Roger Corman’s fingerprints on it.
Era más que evidente que después de explorar las junglas y el aire de Pandora, luna que orbita alrededor del planeta Polifemo, gigante gaseoso en el sistema estelar Alfa Centauri, el canadiense iba a regresar a su obsesión de siempre, los océanos y mares de El Abismo ( The Abyss , 1989), Titanic (1997), sus dos documentales del rubro, Fantasmas del Abismo ( Ghosts of the Abyss , 2003) y Criaturas de las Profundidades ( Aliens of the Deep , 2005), e incluso su hilarante y olvidada ópera prima, Piraña II: Asesinos Voladores ( Piranha II: The Spawning , 1981), secuela bizarra para Ovidio G. Assonitis de Piraña ( Piranha , 1978), de Joe Dante trabajando para Roger Corman, éste también padrino artístico y profesional del propio Cameron ya que el futuro magnate empezó como un simple encargado de efectos especiales para las adorables trasheadas del amigo Roger de comienzos de los años 80. La historia principal vuelve a ser muy sencilla y arranca donde había terminado el eslabón previo, con la expulsi…
On different ends of that same contemporary spectrum, then, are Carpenter and Dante, both breaking through with a film in 1978 (Halloween and Piranha, respectively), with Carpenter treating the genre with a deadly, almost mordant reverence and Dante approaching the material under the heavy influence of Warner Brothers and Tex Avery cartoons that consistently finds its way into his work.
''Gremlins'' combines the visual inventiveness of that episode with a new storytelling maturity -even adding, at the end, some of the social awareness that lurked in the depths of his early ''Piranha.''
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John Sayles' directorial debut has taken on the aura of a folk tale, the details of its genesis are that well known: with a $40,000 budget raised largely from the quadruple-threat's (writer/editor/director/actor) work for the scripts for Roger Corman's Battle from Beyond the Stars, Piranha, and Alligator, Sayles shot a film at a rented lake house with friends possessed of neither experience nor know-how and redefined the American Indie movie scene.