Piranha 2: The Spawning (1981) review

PIRANHA 2: THE SPAWNING 1981 aka PIRANHA 2: FLYING KILLERS

Tricia O'Neil (Anne Kimbrough), Steve Marachuk (Tyler Sherman), Lance Henriksen (Steve Kimbrough)

Directed by James Cameron (Ovidio Assonitis uncredited director)

"The bastards fly...."

***WARNING! This review contains pics of nudity and bloody violence***


Club Elysium, a summer resort, becomes a feeding ground when a secret military experiment is unleashed on the unsuspecting populace. Flesh eating piranha have been cross bred with various other species including flying fish to create a superior killing organism. Nestled below the oceans depths within a wrecked naval supply ship, the eggs have hatched and the mutants begin their hunt for fresh food. A diving instructor, her estranged husband and a man who worked on the covert project attempt to stop the ravenous pack of piranhas before the peaceful resort becomes a graveyard.


James Cameron helms his first movie after several years of ambitious work on a handful of Roger Corman classics where he performed 2nd Unit Direction, Set Design and Effects work on movies such as BATTLE BEYOND THE STARS (1980) and GALAXY OF TERROR (1981). Cameron quickly became one of the hottest directors Hollywood had to offer during the 1980's and 1990's. Seeing PIRANHA 2, there is very little, if anything that denotes something recognizable in one of his later works. One could say that the generally well defined characterizations were evidence of his work, but this could be levied at any decent directorial effort.


Furthermore, in an interview, Cameron states that he was fired after two weeks of filming and the producer, Ovidio Assonitis, took over. This wasn't the first time the enterprising producer pulled a stunt like this on one of his movies. Apparently Cameron's preferred version was recut as well. Assonitis had intended on mounting a PIRANHA 3 in the 1990's, but this never materialized.


Nothing outside of the premise really stands out, but the film accomplishes everything that one of these 'Animal Attack' movies are supposed to do. The audience is introduced to a plethora of personalities that act as potential meals for the killer fish later on. You get to know some of them just enough to get a feel of who they are. However, towards the end when it's time for the requisite 'mass vacationer assault', the fate of some of these characters isn't revealed which is essential in one of these 'killer animal' movies. However, there is the mandatory military involvement resulting in all the chaos.

This shot, like those mentioned and shown below, is not in the US release of PIRANHA 2

PIRANHA 2 has little to no connection to Joe Dante's original outside of the oceanic setting which is threatened at the conclusion of the first movie. For the sequel, it is learned that experimental piranha eggs sank into a wrecked ship that is frequently used as a diving exhibit. Who, or exactly how they sank into that location is never specified. The creatures hatch and attack anyone who is swimming nearby. But at night, the creatures leave their sunken lair and attack their victims on land.


The notion of flying killer fish might sound right hysterical and probably is why people say this is a cheesy movie. Genetic Engineering and gene splicing are real scientific practices so the idea that various species of fish could be used to create a mutant strain is not fantasy at all. Even with the large size of the mutant fish, their wingspan is of an equally large dimension. It would seem feasible that, just like the Sailfin flying fish found in every ocean, these creatures would be able to maintain flight at least for a limited amount of time.

This shot, as well as the following nude shots are not present in the US cut of the film

Possibly the most curious aspect of PIRANHA 2 (1981) would be the different cut present on the R2 DVD. For the US theatrical version, the film begins with the opening credits sequence which then segues into the couple diving at night around the wrecked ship. The R2 has an opening scene with the couple having a brief conversation before making their dive. There's also some additional nudity during this sequence both before and after the couple are attacked by the piranha. There are also numerous scene extensions and dialog scenes that aren't present in the American cut. Some of these extra scenes involve additional exposition such as the horny older woman who has the hots for the younger male lifeguard. Another is a brief comedic dialog scene from the goofy dentist immediately after the big slaughter sequence.

This rather gruesome sequence is not present in the US version of the film

One such added scene involves the two snobbish women, Loretta and Beverly both topless on their boat, having a conversation about their plans for the evening. There's also additional gore footage. The big attack at the finale is longer and there's a nicely gruesome sequence wherein a guard emerges from the water looking for all the world like an Italian zombie (the effects were done by Euro ace Gianetto De Rossi). His flesh falling off as well as an eyeball hanging out, the man desperately tries to reach for his walkie talkie to alert for help. Suddenly, he's pulled back into the water and quickly dragged out to sea by the mutant fish. The death of Gabby also contains some additional gore. The scene where Anne and Tyler dive into the hull of the wrecked ship to blow up the nest of piranhas is also longer in the European cut.


The gore and prosthetic effects designed by Gianetto (LET SLEEPING CORPSES LIE, ZOMBIE, THE BEYOND, CONAN THE DESTROYER, DUNE, HIGH TENSION) De Rossi are good and the flying piranha are pulled off well. No doubt propelled by wires, you can't see the strings and the creatures fly in a convincing manner; little to no shaking or wobbling while airborne; not that you get a long enough look at them to notice. There's a few nicely done shots of the fish attacking underwater in packs and one gruesome sequence where one of the man eating monsters hides in the carcass of a human victim only to emerge from the dead mans stomach and attack an orderly before exiting through a window. There's several mutilated corpses, a shot of a group of piranha feasting on a severed head and a number of ripped out throats complete with spurting blood.


The spunky and attractive Tricia O'Neil is convincing as the diving instructor who learns first hand that something is terribly wrong below the ocean's surface when one of her students is found horribly mutilated inside the wreck. This leads to a dialog exchange that is very similar to a line spoken by Richard Dreyfuss in JAWS (1975). When confronted by the police chief regarding the dead man, Anne states, "It wasn't a shark and it wasn't a barracuda and it wasn't a moray eel and it wasn't a jealous lover!" Another scene that is slightly familiar to JAWS sees O'Neil going into the Fitzgerald wreck to locate said missing (but dead) diver. The man's ravaged corpse drops down on top of her in a similar fashion to the severed head gag from the Spielberg film. O'Neil was a strikingly beautiful presence in the obscure and rare blaxploitation western, THE LEGEND OF NIGGER CHARLEY (1972) starring Fred Williamson.


Lance Henriksen is the most famous and recognizable face in the movie and the one that went on to get the most work in the film industry. He plays Anne's husband and the chief of police assigned to the case. His character is one of the best developed and Henriksen plays Steve a bit high strung and one gets the impression he still loves his wife deeply. This nuance shines through during a scene where he catches her bed with Tyler and his subsequent reaction reveals anger and distress while trying to do his job and keep his composure at the same time. Henriksen has appeared in some choice horror classics such as ALIENS (1986), NEAR DARK (1987) and PUMPKINHEAD (1988). Two of his earliest horror roles were in the low budget drive in gore feature, MANSION OF THE DOOMED (1976) and the big budget DAMIEN: OMEN 2 (1978).


The pulsing score by the prolific Stelvio Cipriani (billed as Steve Powder) is a good one featuring a number of violin themed cues. The thumping and energetic opening theme has minor bits that recall JAWS (1975), but for the most part, the score is very listenable and accentuates the on screen action effectively. It also bears that distinguishable European sound that is recognizable in so many Italian genre pictures. PIRANHA 2 (1981) is an interesting curiosity piece with a troubled background from a director who would soon go on to much bigger enterprises over the course of the next two decades.


I think this movie gets a raw deal and is nowhere near as bad as people say it is. It has a gallery of interesting and goofy characters, an unusual premise (which really isn't scientifically impossible) and a nice collage of gore effects from the effects wizard responsible for some of the most mortifyingly memorable moments of Italian horror. If you're a fan of 'Nature Gone Amuck' movies, you'll want to check this one out as well. It's an average, yet enjoyable movie that delivers on its title. If you're a fan of the original, seek this one out, but know that the sequel is shot with a different approach so if you're expecting a self aware sense of tongue in cheek mixed with bloody violence, you may be disappointed.


The sequel is shot straight and operates on the same level as other similar movies. That could be part of the reason this film divides fans the way it does. Nonetheless, I have no qualms stating I am a fan of the picture having seen it years ago on tape then later on television. If you can, definitely get your hands on the remastered R2 edition. The US disc from Sony is fullscreen and apparently sourced from the previous VHS release. While it isn't perfect and doesn't try to be, PIRANHA 2 offers some good entertainment and deserves a few more fans.

This review is representative of the (unfortunately non-anamorphic) Columbia Tri Star R2 DVD.

Eaten Alive (1976) review

EATEN ALIVE 1976 AKA STARLIGHT SLAUGHTER aka DEATH TRAP aka HORROR HOTEL aka LEGEND OF THE BAYOU

Neville Brand (Judd), Mel Ferrer (Harvey Wood), Carolyn Jones (Miss Hattie), Marilyn Burns (Faye), William Finley (Roy), Stuart Whitman (Sheriff Martin), Roberta Collins (Clara), Kyle Richards (Angie), Robert Englund (Buck)

Directed by Tobe Hooper

Before I begin this review, I want to give a plug to onlygoodmovies.com and their list of the Top 100 Movie Killers. They were kind enough to link my site for their entry on Tobe Hooper's EATEN ALIVE (1976). However, the review linked was for a different film that featured Neville Brand and merely mentioned that movie in passing. So here is a review for EATEN ALIVE, the 1976 hillbilly horror from Tobe Hooper. A big thank you to Caitlyn at onlygoodmovies.com for linking coolasscinema. Below is the link for the Top 100 Movie Killers....

http://www.onlygoodmovies.com/blog/movie-megalists/top-100-movie-killers/

***WARNING! This review contains pics of nudity and graphic violence***


A psychopathic old man manages a ramshackle hotel in the dense Louisiana swamplands. He slaughters his patrons and feeds their remains to a crocodile residing in the pond next to the derelict lodge.


Tobe Hooper, the director of the signature classic, THE TEXAS CHAINSAW MASSACRE (1974) returns to mine similar territory in this obscure and often maligned companion piece to his earlier slice of backwoods horror. Hooper turns on the sleaze this time out with the addition of sexual depravity. Whether it be the ogling from Brand's character, the deviant behavior of Buck, played by horror icon, Englund, or the carnality of the local yokels, there's a seething ambiance of seediness permeating the movie.


Hooper's tale of Blood on the Bayou strives hard to recapture that unnerving atmosphere of his previous masterpiece, but it seldom attains that level of insane brilliance. Nonetheless, irrationality runs rampant in this film, not just in Brand's character, but in some of the unlucky individuals that, for whatever reason, find themselves staying at the hotel of horror.


In keeping with THE TEXAS CHAINSAW MASSACRE connection, Hooper even recasts Marilyn Burns as yet another victim who is bound and gagged and tortured not too much differently than she was in Hooper's previous film. The sometimes annoying music score is very similar to the one heard in TCM not to mention they both share the same composer. Both films are also loosely rooted in factual incidents involving real life murderers. There's also a familiarity in the look of both films although EATEN ALIVE has a grimly operatic look about it; the stage sets giving the film an otherworldly appearance. The lighting is the one defining factor that differentiates EATEN ALIVE from the cannibal clan classic.


Despite the notion that any normal person wouldn't step foot inside the Starlight Hotel, the grime and surrealism was intentional and some of the characters are just as batty and bizarre as the main murderer, Judd. Neville Brand really hammers home the role of the killer bringing him to life in a way that resembles the staunch interpretation by Joe Spinell of the serial killer in Bill Lustig's MANIAC (1980). Brand, being a highly decorated war veteran, brings a lot of that real life horror to the screen.


Brand's neolithic portrayal of the nutjob, Judd is an amalgamation of several sources. It would seem the character and the central locale is a redneck rendition of Norman Bates from PSYCHO (1960). Bates also killed those that stayed at his motel and he had an aversion towards women. Another PSYCHO similarity is the depiction of what is perceived to be the main character. Just as in PSYCHO, the audience is introduced to a female character whom we think is to carry the film. Unexpectedly, she is violently killed a short time into the film. In EATEN ALIVE (1976), we are introduced to a female character (a prostitute) who likewise is butchered in gruesome fashion not long after the opening of the film. Although not nearly as much time is devoted to the hooker as is given to Janet Leigh's character in PSYCHO, a small amount of sympathy is built for her just prior to her brutal and bloody death.


Brand's character also comes off as a combination of the three killers in THE TEXAS CHAINSAW MASSACRE (1974). His role emerges as equal parts the hitchhiker (his overzealous diatribes recall Edwin Neal's performance), the old cook (his mannerisms and Marilyn Burns gets slapped around yet again) and Leatherface (Brand chases women through the Bayou with a scythe in place of the chainsaw).


Hooper fills his movie with a number of familiar faces from many an exploitation movie. Mel Ferrer was a distinguished stage and Hollywood actor who occasionally dabbled in directing. He did appearances in many European productions after his divorce to Audrey Hepburn. Some of his credits among various Italian genre styles include THE ANTICHRIST (1974), the violent political crime thriller, SILENT ACTION (1975), BIG ALLIGATOR RIVER (1979), Lenzi's EATEN ALIVE! (1980) and NIGHTMARE CITY (1980). Some of these roles were bigger than others, but most were simply supporting parts which nonetheless enriched the film he was participating in.


Carolyn Jones has a couple of scenes as the madam of a whorehouse. She was the original Morticia Addams from the classically bizarre television series, THE ADDAMS FAMILY (1964-1966). Marilyn Burns encores for Hooper returning to play a similarly tortured young woman just as she had done in the previous THE TEXAS CHAINSAW MASSACRE (1974).


Burns plays the wife in a seriously twisted relationship with her husband played by William Finley (PHANTOM OF THE PARADISE 1974). This unstable husband and wife duo adds an even more eccentric edge to an already disturbing movie. Finley plays the husband, Roy and his role is possibly more insane than that of Judd.


What makes this dysfunctional couple even more peculiar is they have a little girl who gets terrorized by Judd during a tasteless sequence where Judd chases her wildly swinging his scythe in an attempt to kill the small child. Judd's preoccupation with the girls violent end makes up a good chunk of the films running time as she hides beneath the hotel and Judd tries several methods in an effort to get at her culminating in sicking the crocodile on her during the finale.


The great Stuart Whitman plays the sheriff here and he gets several good scenes although he doesn't get in on any serious action. It's just a pleasure to see one more excellent face to those familiar with genre movies. Whitman was an academy award nominated actor who has done his fair share of exploitation quickies among his more respectable outings. Whitman was originally signed for the lead role in THE LAND THAT TIME FORGOT (1975), but because the producer disliked him, he was unceremoniously removed and replaced by the similarly rugged Doug McClure. Whitman has appeared in all genres including such flicks as SHATTER (1974), the awful blaxploitation movie MEAN JOHNNY BARROWS (1976), the Italian crime sleaze classic BLAZING MAGNUM (1976), GUYANA: CRIME OF THE CENTURY (1979) and TREASURE OF THE AMAZON (1985).


Roberta Collins will be recognizable to trash movie fans from her roles in such drive in classics as THE BIG DOLL HOUSE (1971), UNHOLY ROLLERS (1972) starring Claudia Jennings, CAGED HEAT (1974) and in DEATHRACE 2000 (1975), Collins played driver, Matilda the Hun. She died in 2008 of an accidental drug overdose.


Robert Englund needs little introduction as he will forever be identified with the role of Freddy Krueger having played the villain in nine films as well as the television series that ran from 1988-1990. He also appeared as Willie, the friendly alien visitor in the successful V (1983) miniseries as well as its followup, V: THE FINAL BATTLE (1984) and the subsequently short lived tv series that lasted on season during 1985. Englund has worked in the horror genre for over three decades. His line from EATEN ALIVE (1976), "The name's Buck, and I'm rarin' to fuck", was later reused in Tarantino's average ode to kung fu movies, KILL BILL VOLUME 1 (2003).


What makes EATEN ALIVE a little more of interest to exploitation fans is the inclusion of a hungry crocodile that chows down on Judd's victims and even a small dog in one scene. The croc itself isn't the slight bit realistic, although some shots are effective in small doses. One great scene has Judd repeatedly slashing Roy with the scythe when suddenly, the crocodile bursts through the rails on the porch and snatches Roy by the head and pulls him into the murky pond.


Hooper later returned to the killer croc genre with the lousy direct to video crapfest, CROCODILE (2001). The crocodile aside, the film belongs to Neville Brand and he apparently enjoyed his role and remained in character the duration of the shoot according to director Tobe Hooper.


While it's far from a classic of the genre, EATEN ALIVE is a curious followup to Hooper's more famous scuzzy American Gothic. EATEN ALIVE is more akin to a sleazy and sadistic fairy tale that, despite being overlooked for years, is one of the more well known hixploitation pictures that are popular with a small number of drive in film fans. The recent 2 disc set from Dark Sky Films is the way to go and the disc is a must for fans of Hooper's previous foray into backwoods hillbilly horror.

This review is representative of the Dark Sky Films DVD.