You are currently working on your 2nd feature film AMERICAN MARY, what production stage are you at with the film??

Sylvia: We’re in pre-production. The film calls for some very extensive and unique to this film makeup and effects, and that requires a healthy bit of prep so everything explodes in blood properly when it’s supposed to. Making AMERICAN MARY has been quite a different experience from making DEAD HOOKER IN A TRUNK. Now that we aren’t paying for the film by maxing out our credit cards, we can do things a little more calmly and extensively planned out. A lot of HOOKER was insane, seat of your pants indie filmmaking and because we knew that was the style we would be creating the film with, we decided to have a script that embodied that insanity. MARY is very articulate and concise. Every single moment of every frame is being meticulously pre-planned.

Jen: Technically, AMERICAN MARY is our third feature. We did a documentary with CJ Wallis, our Goody Two Shoes and always accomplice, called PLEASE SUBSCRIBE. It follows Youtube sensations Tay Zonday, David Choi, Happyslip, and Daxflame as they show us how their Youtube success has changed their lives and the entertainment industry forever. It’s a very different film from DEAD HOOKER IN A TRUNK and AMERICAN MARY, but it still has a lot of heart and our trade mark humor, not to mention CJ’s stellar cinematography. We are expecting that film to hit the film festivals this year and take the journey that DHIAT did last year. I imagine that it’ll be hitting some fairly different festivals, ha ha. We are still in the process of deciding where it will have its world premiere. We’re really very proud of it.

How different has the process been on MARY compared to your critically acclaimed 1st film DEAD HOOKER IN A TRUNK??

S: It’s the same in the respect that I have the privilege of working with seasoned professionals again. The team that came together and backed the ridiculously ambitious first feature from two completely unknown film makers was amazing. It was a big family where everyone helped everyone out. I have a huge amount of respect and loyalty to those people and you will be seeing some familiar faces from HOOKER coming onto MARY.

The fact that makes it like night and day is the fact that we have an incredible company backing us and the project. The financial freedom that gives is a godsend, especially with us still in major debt from making HOOKER. They are cool, creative partners and that’s hard to come by. We’re still an independent project with a modest budget considering what we are planning on making here, but Jen and I have always enjoyed creative problem solving. As much as things change with funding and the extravagance we are able to pull off, we will always remember where we started.

J: Oh, it’s like night and day! When you have an indie film and your cast and crew are volunteering their time and waiving their fees or taking an incredibly reduced rate, you work fast, you problem solve often on the spot, and you have to make some hard decisions and sacrifices. Somethings you just can’t afford. You can’t ask people for more when they’re already working for free. So, you take it onto yourself to save a buck. With DHIAT, there isn’t anything that we didn’t have a hand in. Casting, set dec, clean up, location scouting, make up, wardrobe, marketing, props, scheduling, crafty… MARY has a much larger budget than DHIAT and with that comes more people doing fewer jobs. Sylv, CJ, and myself will probably always wear many, many hats, but it’s incredible to have so many more people helping out. Sometimes I stop and think to myself, “oh, yeah. I’m supposed to be directing.” The team we assembled for MARY are just incredible and Ican’t wait to showcase the amazing things they are already doing for the film. It’s kind of funny to have a budget. Things that we simply couldn’t afford to have or do on DHIAT, we can have and do for MARY.

Where did DEAD HOOKER IN A TRUNK originate from??

J: DEAD HOOKER IN A TRUNK came from a film school experience gone wrong. For the record, like Tarantino, I say don’t go to film school, boys and girls. It’s good to build up contacts and learn the technical aspects of filmmaking, but there is no substitute for the real deal. Save your money and spend it on an indie venture. You’ll learn so much more than you could ever learn in a school setting and you’ll end up with a film that’s all yours. It’s incredible. Okay, back to our story… Sylvie and I always loved movies. All movies. Being twins, we started acting at an early age, here and there. As we got older, our roles became much more limited. It was nothing but “slutty school girl” or “hot twins” or “bikini girl”. I know the world needs bikini girls and God bless them, but enough was enough. We loved martial arts and have no problem getting roughed up and thought, “hey, how about we try stunts for a bit? Maybe we’re still in a bikini, but maybe we’ll have more fun.” We went to a film school that had an “action for actors” program. It was awesome. We met some very talented gentlemen in the stunt business. But when the stunt portion ended, the bullshit started. Among other short comings, we had a final project in our film making portion of the program where we broke up into groups and were meant to do short films. At the time, the classes were so disorganized that we were leaving class early to go watch GRINDHOUSE in theatres. We figured we wanted to learn so we might as well watch the masters at work. We came up with an idea for a faux trailer like the ones in GRINDHOUSE and maybe, just maybe, if it was good enough, we could send it to Rodriguez and Tarantino and get it in the next GRINDHOUSE film. However, our school pulled our funding at the last minute which was supposed to be included as part of our tuition. They told us we had to absorb into another group as they had no money for our film. Sorry.

Well, that shit didn’t fly, believe you me. Sylvie and I set out getting our cast to volunteer on their own time and asked our contacts to help us film the thing. We made it happen on our own time, with our own money, using only our own resources. Additionally, this particular school had a list of things deemed unacceptable and inappropriate for their films and no student was under any condition to include anything on the list. Not only did we include EVERYTHING on that list, but we added a few. Necrophilia, beastiality, gratuitous violence and gore, the “f” word…. The school allowed us to play our teaser, sight unseen, at our graduation ceremony. It played dead last. The reaction was split evenly. Half the audience was so put off that they got up and walked out and the other half was laughing and cheering so loudly that you could barely even hear the trailer. It was wonderful.

S: The feature seemed like the next step and the team was excited to continue. We wrote out the full script over the next two weeks, heavily using Rodriguez’s Rebel Without A Crew for guidance. It’s brilliant, every indie film maker should read it. He wrote EL MARIACHI by writing scenes on cards then figuring out how the sequences should go – great method for a wild film like HOOKER.

Speaking of writing, can you describe what your writing process is like??

J: It’s a total tag team thing. Sylv and I are very lucky to be able to write very fast. Writers block is a rarity. Our strange little minds can stare at a blank screen and just envision a whole world

unfolding. The tricky part is deciding what is the absolute best route to get our characters and story where we want it to go. I love working with Sylv. I feel bad for you “normies” out there, ha ha

S: We’ve moved on from the cue card writing style just because it was hard to graph out with two people. Before even writing a script, Jen and I just shoot ideas at each other. Finding a good idea to base an entire film on is the hardest thing. It better be something you are really passionate about because you are going to be spending a lot of time and effort on it. After we pick something we are both totally behind, we make a timeline, split it into three acts, then mark out the different points that the transition to the different acts. It starts with a scene, usually not in sequence and we muddle around with this paper until the whole film, scene for scene is filled in. Then we call the scenes we want to write, plan the writing schedule – you write to this point, then you write to that point – and we just sit down and get it down. If someone gets blocked, we swap out. We constantly share as we write – we’ll suddenly start reading a piece of dialogue or invite the other to check a sequence. We tweak and rewrite until we are both a hundred percent satisfied.

Did you write HOOKER planning on producing, directing & starring??

J: Strangely, yes. Given, we had yet to make a feature before and had no idea how much we were taking on. Knowing what I know now, I’d do it all over again. Sure, I’d make a few small changes for the sake of sanity, but I’d do just as much as before. With DEAD HOOKER IN A TRUNK, we had but two humble desires. One, to make a film that would be pure enjoyment for our audiences and, secondly, to get our names out there. We knew that in the future, it would be unlikely and unnecessary for us to do so many jobs on set. Also, we wanted to showcase the many things we are able to do and highlight the multiple talents of our cast and crew.

Starring wasn’t just an act of vanity. I knew that I never had to sugar coat anything with Sylv and that both of us would do whatever was needed to get the shot. I don’t know if I could ask anyone else to get dragged by a rope behind a speeding truck, ha ha

S: I think from having been involved in acting for so long, we really wanted to have a role that we wanted to play and that would be fun to watch. After taking on so many roles in the film, I feel as if I truly know what I want to do. Acting is very fun and I feel privileged to have had the opportunity to play someone like Badass. Writing and directing is what Jen and I would like to focus on from now on and besides, there are only so many stories to be told about identical twins. We will be making a cameo appearance in AMERICAN MARY before retiring from acting for good. Right now we have about seven written and ready to go projects that we are excited to get to work on in the future. We plan on directing those together and continuing to make a variety of strange and interesting films.

Can you talk a little about how hard it was to pull of your 1st film??

J: I always assumed it wasn’t easy, but I had no idea how difficult it really would be. It’s not for everyone. You don’t just make a film and then get rich or famous, not that we by any means are either, ha ha. It’s a lot of hard work and sacrifice. We not only maxed out our credit cards and depleted our modest savings for the film, but we took time off from having a 9 to 5 so we could work on the edit for the film with CJ. There were a lot of tight times. We didn’t have money for rent or bills because it all went into the film. Our parents are absolutely amazing. They helped us out so much and brought us groceries. They never even suggested we give it up and get a “real job”. They helped produce the film even. It makes a big difference when you have good people supporting you.

When we started the film, 99.9% of people looked at our little script written on WORD and said, “you’ll never pull this off. This isn’t how you make a film. You’re doing it wrong” and that was that. The other 0.1% are the most incredible people in the world for looking at our proposed project and saying, “A Dead Hooker In A Trunk? Ha, that’s fucking awesome! I’m in!”. There is no such thing as a social life when you dedicate yourself to film making like this. You talk to only people in the business. Other people have a hard time understanding that 16 hours later, yes, you are STILL working and no, you don’t have the time, money, or energy to grab a drink. I have lost a lot of supposed friends who got too frustrated with the amount of time we had to work.

S: We were extremely lucky with the amount of talent we got to work on this film. We started filming during the writer’s strike in 2007. That cleared up a lot of people’s schedules and they were extremely generous with their time. No one had just one job – everyone did multiple jobs, everyone helped everyone out. It was a great team. A lot of people turned us down. We lost cast because of the edgy material and the fact that we were funding it ourselves. They said it was way too ambitious and no one will watch it. It’s unbelievable to see how people will get so caught up on how things are ‘supposed to’ happen and not open their eyes and realize they have the tools they need to make a film. The money thing was really rough. Not being able to afford food, rent, and still being behind sucks. Christmas during production and we literally couldn’t afford presents. Christmas sucks when you’re poor.

What was the biggest hurdle you had to get over during production??

J: That’s a tough one. It was our first film and we learned a lot. I never thought it was going to be easy and it certainly wasn’t. I knew I didn’t know much going in and quickly learned just how much there was to know. I knew less than nothing in comparison. But the biggest hurdle? It’s kind of funny to say, but actually completing the film was the greatest challenge. It’s difficult when people are volunteering their time and taking reduced rates. You have to move things around to accommodate their needs and fit into their availability. When you’re working with a very modest budget, you have to make changes on the fly to make up for things that you can’t afford. We all had only one set of wardrobe. We had to be very careful about irreparably damaging them or staining them with blood. You learn to anticipate problems a mile away. You find yourself playing out every scenario in your head just so you won’t be caught off guard. I’d have to say that was the biggest challenge. Not being able to say, ”fuck it, let’s just buy another one” or “we’ll just film the rest tomorrow”. We just weren’t able to.

S: I got some excellent advice from a friend about film making – Focus on the donut, not the hole. The ‘donut’ is everything that everyone sees, what’s on the screen for people, and the stories you tell. The ‘hole’ is all the other bullshit that happens during production. The actors dropping out at the last minute, the weather destroying shots, wardrobe ripping with no replacement, unexpected huge expenses, things breaking, sound not being recorded, locations falling through, people getting injured, random drama from out of the blue – there is a lot that can happen on a set that just makes the process more difficult and benefits the film in no way.

The biggest hurdle was finding the right team. Once you have people that truly, honest to goodness, love film making and story telling - then you can’t go wrong. We had a lot of nay-sayers that just chose to leave or damn the project because it was too indie or too ambitious. I think my personal biggest hurdle was to find my voice. I was so grateful to have the team that I did and have everyone excited to be working on the film, but sometimes someone has to say something that isn’t popular to do what is best for the film. I use Harvey Weinstein as my business role model. He knows his shit and isn’t afraid to do something unpopular to get the best film out there.

What was the biggest thing you learned from HOOKER that you carried

over to MARY??

J: I’d have to say the biggest thing we learned from HOOKER that we’ve brought onto MARY is that the film must always come first. It sucks at times, but the project has to be number one for everyone. After all, it IS why we’re all here. If something or, worse yet, someone isn’t working out right and is detrimental to the work, regardless of how much you try to make it work, it or they just have to go. And it sucks, but that’s the way it has to be. Surround yourself with people who LOVE what they’re doing and care about the film and are honest and open, and you’ve got a euphoric set. Anything that isn’t working out becomes poison on a set and you have to do what’s best for the film. That’s actually advice Eli Roth gave us. He told us to fire a friend is one of the shittiest things you’ll ever have to do, but you’ve got to do what is in the best interest of your film. And it’s true. On both counts.

S: A lot of MARY counters the style of HOOKER. We want to show people that we don’t just plan on making the same thing over and over again. There are elements that I would say is part of our style that will carrying onto all films – like edgy ‘what the fuck’ content and a very crass, dark humor. You have to first and foremost make something you are really passionate about – something that means something to you. If we didn’t love DEAD HOOKER IN A TRUNK so much, as the whole team did, then we wouldn’t have ended up with the same film that we did. We’re taking that lesson onto MARY. The people on the team love this story and these characters and we’ve already had some amazing progress on the film. I’m very fortunate to work with, as the head of my prosthetics and makeup has so eloquently coined – Nice People Who Know Their Shit/ NPWKTS. It makes a world of difference.

Where did AMERICAN MARY originate from??

S: When we finished the first cut of DEAD HOOKER IN A TRUNK, we sent the trailer to the directors that had inspired us so with GRINDHOUSE. I heard back from Eli Roth a little while after and he was astonishingly supportive and kind. We sent him the full feature and he was even more amazing – he started getting the word out about the film and even gave us some great advice on our final edit. He also asked if we could send him some of our other scripts because he would love to see more of our stuff – something that was ‘more straightforward horror’. Well, we didn’t have anything fully written, but we had ideas. We told him a rough idea, that would later become AMERICAN MARY, and he was interested. It was fueled from something I had seen online that deeply scarred my brain. We wrote it out in two weeks, tweaked many times after, and now here we are. I later confessed to Eli that was how it went down. He’s a wonderful human being and a fucking brilliant horror director.

J: Additionally, it’s a very personal story for us and a lot of people. In this day and age with every facing financial struggles in an uncertain economy, many people can relate to Mary’s struggles. It’s hard to make ends meet these days and it’s even harder to achieve your own personal ideals. The American ideal and quest for absolute perfection is examined there, as well. AMERICAN MARY really is a film that reflects the times and the struggles that many people are going through. I wish I could say more, but I don’t want to give anything away.

And Sylv would murder me.

Stay tuned for part 2! You can find more information on the Soskas & their films at their OFFICIAL SITE!

The Film:

Hunter S. Thompson would have easily described The Taint as “gonzo”, and there isn’t really any other word to accurately describe this genre-smashing indie. Imagine a weird lovechild of Cabin Fever, Cannibal! The Musical, America Pie, and that’s The Taint. It’s silly and irrelevant, yet within its scant running time (68 minutes), it’s far smarter than Eli Roth could ever be with its violence and sex, which capitalizes off of a satirical look at misogyny. Truly, The Taint will be a dorm room cult classic.

Using its title as a double entendre, The Taint is far smarter than its Evil Dead II horror-comedy trappings initially lead on. With the water tainted with a chemical that was suppose to be used for penis growth, writer/director Drew Bolduc slam dunks interesting social commentary of Viagra and Women Rights, with wrapping it up in cum shots and masturbatory fantasies. Once infected, men become barbaric and zombie-like with a need for sex, with their stoned appearance and enlarged penises leading the way. The film is uber-gory too, but it’s played much to the comical elements Trey Parker and Matt Stone once did in their debut, Cannibal! The Musical.

Troma wishes they could make underground sex/gore/comedies like this. The punk rock soundtrack, mixed with the hilarious horny driven dialogue, will easily make it a film that will be passed around from movie nights to movie nights at college campuses. It’s a cult classic ready to be served. Feel The Taint. Know The Taint. Love The Taint.

The DVD:

Audio/Video: Bolson Media Alliance releases a solid DVD presentation here. The film looks pretty darn good, with nice colors and details. The audio is adequate as well in its DD 2.0 Stereo mix.

Commentary: The disc’s only real extra is a good one. The filmmakers offer an interesting and funny look at the tender, love, and care that went into this indie production.

The disc finishes off with a few Trailers.

To buy or download the film, click here.

The Film: Rating: 4 out of 5 stars

The DVD: Rating: 3 out of 5 stars

Russell Crowe has signed on to co-star with Wu-Tang founder, the RZA, is The Man With the Iron Fist.  RZA will play a weapons-making village blacksmith in feudal China—and as for Crowe, RZA doesn’t want to say too much. “I won’t spoil it for you, but Russell’s gonna be the baddest man alive,” he told reporters yesterday at the VMAs.

Although RZA has acted in films like  American Gangster this will be his directorial and writing debut.  He had help developing this project by Quentin Tarantino and Eli Roth, with Eli Roth now a co-writer and co-producer.

In an interview from 2008, Eli Roth stated, ” The martial arts movie will be heavily influenced by the work of Quentin Tarantino, and feature lots and lots of blood. RZA’s script is amazing. He has been studying directing with Tarantino for years, and he’s really ready to get behind the camera. His impact on rap music and hip hop culture cannot be measured, and he’s ready to add his own unique style and vision to the world of film.”

Hostel 3- still undecided if it’ll go DTV or theatrical- will star Kip Pardue, Brian Hallisay, Sarah Habel, and is directed by Scott Spiegel.

While promoting The Last Exorcism, Cinema Blend spoke with Roth, who confirmed that he’s planning to make a feature film on the faux trailer.

Once Roth is done promoting The Last Exorcism, he’ll begin working on the script. “I’m promoting The Last Exorcism, and as soon as I’m done in mid-September he’s going to fly to California, we’re going to sit down, and bang out the script,” Roth said. He’ll be working with friend and c0-writer Jeff Randall, who played the pilgrim in the trailer.

The Last Exorcism

The Last Exorcism follows Reverend Cotton Marcus, (played by the talented and ever so handsome Patrick Fabian) a preacher who should have been a magician as he is talented in performing fake exorcisms. However, he is still performing a great service because he is curing the most devout religious fanatics by making them believe they are cured–even when there is nothing wrong with them. When Cotton briefly skims a hand-written letter for a widower to help perform an exorcism on his 16 year old daughter named Nell, (Ashley Bell) Cotton and a film crew drive to a farm in rural Louisiana in hopes of tricking the family into believing he has vanquished the demon from Nell with his “David Copperfield” inspired exorcism routine within a quick “Wham bam thank you Mr. Howdy” fashion. Unfortunately, Cotton soon discovers that this is not a case of curing a troubled mind, but rather he is dealing with something far darker and far more evil than anything he could have prepared himself for.

Like Scott Glosserman’s Behind the Mask, director Daniel Stamm has made a truly effective mockumentary-styled horror film focusing on a very likable anti-hero. It is a film that also effectively dissects the debate over religion vs. science and how important faith (whether you believe in God or the Devil) is in today’s world. (whether you like it or not. ) Many may feel compelled to compare this film to The Exorcist, but The Last Exorcism does not try to one up the scares. It’s a different beast all together and knows its limitations.

Many may be disappointed that this film is not a true handheld horror film. It is strikingly slick and its glossy visual asthetics as well as its booming score may put off some who were expecting a cinema verite experience like The Blair Witch Project and Paranormal Activity. However, the film makes up for its unneeded glamor with its amazing cast, shocking twists and turns, lack of CGI effects, (*actress Ashley Bell performs all her bod-contorting stunts) and an ending viewers will not forget.

Kudos to director Daniel Stamm for providing horror aficionados a PG-13 film with a R-rated feel. Make sure to catch this goosebump-inducing thriller on opening day before fans everywhere start spoiling the ending that will be talked about for weeks to come.

Rating: 3.5 out of 5 stars

Dimension Films will let Piranha 3D loose on August 20.

“Jaws… lots and lots of jaws. From acclaimed director Alexandre Aja (The Hills Have Eyes) comes the new action thriller PIRANHA 3D, in the latest eye-popping 3D technology.”

A new documentary on these ‘young guns’ of horror are put under the microscope by Directors Mark Henry and Frank H. Woodward. Keep your eye on the website Wyrdstuff.com because that is where the documentary will debut and be available to download. Wyrd’s new documentary looks back on the first decade of 21st Century horror films and the filmmakers who were dubbed “The Splat Pack” by film critic Alan Jones.  

“The Splat Pack features interviews with Alexandre Aja (High Tension), Darren Lynn Bousman (the Saw series), Adam Green (Hatchet), Alan Jones, Harry Knowles, Greg McLean (Wolf Creek), Neil Marshall (The Descent), Greg Nicotero, Eli Roth (Hostel), Staci Layne Wilson.”

Thoughts on Hostel III?

Source: B-D

The Exorcist

‘Old Scratch’ came back in a big way in 1999 because the new millenium was nearing and what better time for Satan to make a return than the year leading up to that doomsday number of 2000. Studios were all over it releasing money wasters like End of Days, Lost Souls, The Ninth Gate, and Stigmata. They were all instantly forgotten by the general public and made me yearn for the days off mediocre imitators like Antichrist, Race with the Devil, and Rain of Fire.

That same year brought the box-office monster The Blair Witch Project. You know about the viral campaign, the heaps of dough it made, and how eleven years later it still sends tremors through the film world with its cinéma vérité roots. I have genuinely enjoyed some of the offspring that came afterwards, but I don’t find much rewatch value in the shaky camera that gets my motion sickness brewing to the point I need a dose of Dramamine. Lately, that little annoyance has subsided because the skill and craftmanship of The Poughkeepsies Tapes, Cloverfield, and [Rec] 2 has me singing a new tune. Shake it, shake it, shake it, shake it like a Polaroid picture.

Cotton Marcus [Patrick Fabian] is ready to blow the lid off of all of the false exorcisms he has done over the years, and in the process, expose the charlatan ways of himself and anyone who has ever performed one. He is a super charming fella who is part Jim Bakker, part Jimmy Swaggart, and all of the quackery of Benny Hinn rolled into one. Along with a camera crew, he visits a young teen named Nell Sweetzer [Ashley Bell], who shows signs of demonic possession. Cotton performs an ‘exorcism’ to get rid of the fowl beast, but it is all show as you get a first hand look at the tricks of his trade.

Nell is dealing with a real unclean spirit inside her and Cotton and his crew are hauled back in to do the job right. She draws morbid pictures on her wall that foretell the future of things to come. There is a drawing of a cat beaten and bloodied, and sure enough, the family feline ends up mincemeat. To make matters even worse, Nell is pregnant, and Cotton points the finger at her father and is sure it’s a case of incest.

Just when you think you know where this film is going, it takes you down an even darker path than you already thought you were on. Is this a case of a girl who is overtaken by Lucifer, or are there individuals at hand with a larger plan for the ‘Prince of Darkness’?

Critics always moan that acting is the weakest element of any horror flick. Mostly true, but here it is the strongest, with powerhouse performances from Ashley Bell and Patrick Fabian. Bell gives it all she has and made a believer out of me. Like Jennifer Carpenter in The Exorcism of Emily Rose, her demonic possession is grounded in reality and it’s a physical tour de force watching her contort her face and body.

What works heavily against the movie is the been there, done that beats that it hits across the board. The template for the film is no doubt The Blair Witch Project, with the witch being replaced by a certain fallen angel. To be fair though, this is scarier than that overhyped floater that so many naive people thought was the real deal.

If promoted confidently from Lionsgate, they will have a late summer sleeper on their hands come August 27.

Rating: 3 out of 5 stars

And the synopsis of the plot you ask? “When he arrives on the rural Louisiana farm of Louis Sweetzer, the Reverend Cotton Marcus expects to perform just another routine “exorcism” on a disturbed religious fanatic. An earnest fundamentalist, Sweetzer has contacted the charismatic preacher as a last resort, certain his teenage daughter Nell is possessed by a demon who must be exorcised before their terrifying ordeal ends in unimaginable tragedy.

Buckling under the weight of his conscience after years of parting desperate believers with their money, Cotton and his crew plan to film a confessional documentary of this, his last exorcism. But upon arriving at the already blood-drenched family farm, it is soon clear that nothing could have prepared him for the true evil he encounters there. Now, too late to turn back, Reverend Marcus’ own beliefs are shaken to the core when he and his crew must find a way to save Nell – and themselves – before it is too late.”

Guess we will see if the film needed an R-rating or if no matter what, still scared us.

Source: DreadCentral

“Jaws… lots and lots of jaws. From acclaimed director Alexandre Aja (The Hills Have Eyes) comes the new action thriller PIRANHA 3D, in the latest eye-popping 3D technology.”