[CRITIQUE DVD] SHARKNADO 3

Friends movie-goers, I come to witness a scene of the most improbable : David Hasselhoff at the controls of a space shuttle, a dialogue with Bruno Salomone ! This is where all the interest of the productions of The Asylum since their mockbusters (blockbusters low-cost) have entered a phase a teenager and rebellious, self-derision and one-upmanship in the fun an uninhibited. There is in this posture that adopts, with no opportunism for SHARKNADO 3, something post-modern. In heir to the tradition of grindhouse – dear to Tarantino and Robert Rodriguez – and of the equally jubilant Piranha 3D ’Alexandra Aja, who pays homage to the pleasures, guilty of exploitation cinema, while emphasizing its schoolboy and the most absurd.

The saga Sharknado seems to be the standard of an offensive film that had to take place on a day when the other : the contrast of the nanars, marginalized members of the big family of the cinema, we love to make fun of but was too ashamed to invite them to ceremonies and retrospectives official. This third opus is the only thing he could do given the concept of origin is happily stupid. Namely outbid in the anything as an artist madman who composes a work, more by accident than by reflection, by thinking that, maybe, you never know, on a misunderstanding, that’s going to a crazy avant-garde worthy of a surrealist poet. Even if the result is more like the dream that would make an adolescent addicted to comics and video games after three days of insomnia, the surrealist poetry still finds an unexpected form in the bias hardliner of the project. Hasselhoff and Salomone in the same film, if this is not surreal !

No, there was no flinching, SHARKNADO third of the name fulfils its contract with zeal and good will. In any case, for what concerns the fun without any hangups, and that is what is expected as a priority. In just one hour and twenty action, the film connects the ideas to be bent where the strokes of the chainsaw laser follow-ups of the necklines of actresses, without straying too long in a plot or sub-plots, aware that they are only pretexts for this roller coaster film. But even if it starts with a piece of gallantry, which are blown up all the patriotic symbols (the bust of George Washington to the memorial of Iwo Jima), the processing zany suffers well soon inconsistencies that he himself has created.

“SHARKNADO 3 is the only thing he could do : re-bid in no matter what.”

Indeed, the achievement ofAnthony C. Ferrante seems constantly torn between the need of epic and grandiosity that requires the kind of disaster film, and the distance required to take on the delusions of the action scenes. In the dialogues that are missing sorely irony, or in the interpretation of the actors is very “first degree”(what a pity to spoil such a potential histrionics), one constantly has the impression that the director says : “need not be taken seriously…but things have to be done seriously…but let’s not be too cynical in the eyes of the spectators…but when even a little bit.” Cruel dilemma that would not arise a true nanar, less conscious of his grotesque and least own on him. To give you a good example of the problem, without spoiler elements crispy, the blondissime Bo Derek plays here the role of the mother-in-law of the hero. Yes, but a mother-in-law of disaster movie lambda, nothing colorful in his writing, as if Asylum had borrowed from Roland Emmerich or a tv movie for the Disney Channel, while it is clear here that in a film ” over the top “.

Fortunately the show is short, because if it appesantissait on its inconsistencies and differences in style, it would lose some of its bite – which does not prevent the viewer to stay on his end. If the invoice modest production participates in the guilty pleasure of Sharknado, we regret the absence of a strong personality behind the camera to bring as much vice as virtue with the special effects rubbish. If the project was placed in the hands of a small master of the B series, a new Sam Raimi or Peter Jackson become, for example, or even artisans, having a dough identifiable as Nerverdine/Taylor or Ruben Fleischer, the concept seems so successful, and the saga deserves to become a cult.

Arkham

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