After a sudden underwater tremor sets free scores of the prehistoric man-eating fish, an unlikely group of strangers must band together to stop themselves from becoming fish food for the area's new razor-toothed residents.
Lake Victoria's annual Spring party by 50,000 young revelers is about to turn into a feeding frenzy with prehistoric hunger-pains. With knee-trembler's above the waves and tremors below, released from their dormant sleep, thousands upon thousands of flesh-eating nippers are released into the lake with whetted appetites and razor-sharp teeth. With a motley crew of strangers thrown together to defend these shores, it is now up to them to prevent the largest eat-out in human, and piranha, history. Written by
... There are two ways to deconstruct a genre. CABIN in the WOODS is pretty much a clinic in this rare art. But history I think will notice this little gem as well.
Because the "other" way is to take the standard and predictable tale and -- like a martial artist doing Tai Chi -- exaggerate every single movement, action, visual, and piece of dialog.
In other words, it is what you expect, but much more. It is excess to the point of excess. It is overkill. Part of your brain likes what it sees and part of your brain wants to run to the parking lot and hide in the trunk of the car.
That is the genius of Aja. From the opening scene from iconic Richard Dreyfus (JAWS) becomes a snack, to the semi-serio-comic close, you can't help but notice how technically perfect everything is.
That is the beauty of this deconstruction. Death by perfection.
If you leave the theatre thinking how good the movie might have been WITHOUT THE EXCESS then the director has done his job. And you will.
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