Tag Archives: New World Pictures

Humanoids from the Deep (1980, Barbara Peters)

Maybe it’s James Horner’s score–which is solid, if a little too Jaws inspired–but if you squint your eyes and turn off your brain, Humanoids from the Deep almost seems like a real movie. It’s not, of course, it’s a New World picture.

It’s got to be hard for a film to waste Doug McClure, but this one does. McClure’s phoning it in so much here, the scenes with him and the infant son are funny. Oddly, the scene where he and wife Cindy Weintraub go looking for their dog, holding hands, works rather well.

Vic Morrow’s the bad guy until the monsters show up and he’s fine. Anthony Pena is really good as Morrow’s nemesis (a well-meaning Native American). Ann Turkel’s hilariously bad as the scientist who has all the answers about the monsters.

The monsters themselves are almost well-designed (Rob Bottin designed them). At times, they almost look good, and then Peters gives them a full reveal (or maybe whoever shot all the gore and nudity gives them a full reveal) and it’s silly. The premise–monsters who mate with human females–is trashy, but the film’s pretty mellow.

It’s kind of slow, but not in a bad way–until the last couple scenes, it seems like it’s going to end better than it should. I think I may have seen it before, but maybe not–I would have remembered the carnival, which goes unmentioned until it’s clear the monsters are going to attack it.

0/4ⓏⒺⓇⓄ

CREDITS

Directed by Barbara Peters; screenplay by William Martin, based on a story by Frank Arnold and Martin B. Cohen; director of photography, Daniel Lacambre; edited by Mark Goldblatt; music by James Horner; produced by Cohen and Roger Corman; released by New World Pictures.

Starring Doug McClure (Jim Hill), Ann Turkel (Dr. Susan Drake), Vic Morrow (Hank Slattery), Cindy Weintraub (Carol Hill), Anthony Pena (Johnny Eagle), Denise Galik (Linda Beale), Lynn Theel (Peggy Larson), Meegan King (Jerry Potter), Breck Costin (Tommy Hill), Hoke Howell (Deke Jensen), Don Maxwell (Dickie Moore), David Strassman (Billy), Greg Travis (Mike Michaels, Radio Announcer) and Linda Shayne (Sandy, Miss Salmon).


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Piranha (1978, Joe Dante)

More than anything else, I think Pino Donaggio’s score sets Piranha apart. Initially, anyway. The film’s a very self-aware Roger Corman Jaws “homage,” but Donaggio’s score very quickly establishes it on firm ground. The score’s delicate, without any spoof-related cynicism (there’s no attempt to mimic the famous Jaws theme, Donaggio has some piranha attack music, but uses the score differently), and rather lovely in parts. With the score opening the door, Piranha‘s other singular elements come through.

Director Joe Dante and writer John Sayles maintain some of the Jaws mores, but quickly go their own way. The scale of Piranha is much smaller and it’s hard to believe how much time Dante and Sayles can get out of the story. There’s the pre-titles prologue (the biggest Jaws rip), but then Piranha immediately changes gears. The film’s got a constant sense of dread–something Dante does really well, especially for the scenes at the summer camp–and it’s difficult to notice the low budget aspects after a while, just because the film’s so ruthless in who the piranhas get. The scene at the summer camp is fantastic; the wholesale piranha attacks on the campers is startling. That scene alone puts Piranha on its own, in terms of cinema.

The film does have some playful elements, mostly at the beginning. There’s some good stop motion work from Phil Tippett; it doesn’t go anywhere and just serves to kill some running time, but it’s well done and a fine time passer. The rest of the film mostly gets its humor from Paul Bartel as the summer camp director. He’s a complete jackass and his scenes do provide a little relief.

It’s hard to say what’s more important for the film, Dante’s direction or Sayles’s script. The film looks so much like a Joe Dante picture–with Dick Miller, Kevin McCarthy and the stop motion tangent–he seems the easy answer. But Sayles doesn’t just bring a fine attention to turning the little scenes with throwaway dialogue into real scenes (I’m thinking most of the scenes with Melody Thomas Scott and Shannon Collins, but also the even shorter water skiing scene), his pacing also makes the film work. There’s a break in the action during the second act, when the piranha attacks cease for about ten minutes (in a ninety-some minute picture, ten is a lot). Sayles is able to turn the dread to eleven here, with the summer camp attack then realizing it. But it’s Dante who makes that attack so visceral and affecting.

It’s complicated.

The acting’s decent–Bradford Dillman’s a solid lead, Heather Menzies is fine as the private investigator (though it’s unclear why her boss, a good Richard Deacon, doesn’t trust her). McCarthy, Miller and Keenan Wynn are, no shock, the best. Thomas Scott and fellow camp counselor Belinda Balaski are both good.

I think I’ve seen Piranha before, but it’s been ten or eleven years and I barely remember it if I did. It’s a lot better than I thought it would be; it seems to be overlooked and under-appreciated, regarded as a trifle instead of a credible film. It’s certainly the latter.

3/4★★★

CREDITS

Directed by Joe Dante; screenplay by John Sayles, based on a story by Richard Robinson and Sayles; director of photography, Jamie Anderson; edited by Dante and Mark Goldblatt; music by Pino Donaggio; produced by Jon Davison; released by New World Pictures.

Starring Bradford Dillman (Paul Grogan), Heather Menzies (Maggie McKeown), Kevin McCarthy (Dr. Robert Hoak), Keenan Wynn (Jack), Dick Miller (Buck Gardner), Barbara Steele (Dr. Mengers), Belinda Balaski (Betsy), Melody Thomas Scott (Laura Dickinson), Bruce Gordon (Colonel Waxman), Barry Brown (Trooper), Paul Bartel (Mr. Dumont), Shannon Collins (Suzie Grogan), Shawn Nelson (Whitney) and Richard Deacon (Earl Lyon).


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THIS FILM IS ALSO DISCUSSED ON BASP | PIRANHA (1978) / PIRANHA (1995).

The Punisher (1989, Mark Goldblatt)

Back in the late 1980s, The Punisher was part of that period’s comic book movie wave. Most of these films had little to do with Batman’s success and most of them failed, both commercially and artistically. Teenage Mutant Ninja Turtles, of course, succeeded financially. Watching this Punisher film (I have no interest in the new one) again–I’ve seen it multiple times, as the teenager looking for the action film where cars inexplicably blow up, and again as an adult, when it came out on DVD–I noticed just how much of it did succeed. The key to The Punisher is forgiveness. One has to forgive the bad opening credits (with tinted action shots from the film), the direction, and the music. Once those three factors are forgiven, and the viewer can accept the film as a 1980s action film, The Punisher can offer a lot… really. Well, at the least, it can offer quite a bit.

Director Mark Goldblatt edited a number of 1980s action films–The Terminator and Commando–and The Punisher is a well-edited action film. It’s Goldblatt’s direction. He doesn’t know how to frame a shot, doesn’t know how to move a camera, doesn’t know how to direct actors. His previous directing experience including second-unit work on Robocop and it shows in The Terminator. There are some very Robocop-influenced shots in the film… The lack of good framing hurts The Punisher the most (except the terrible score), since there’s only one bad principal performance–Nancy Everhard is way too spunky. The rest of the performances are good. Jeroen Krabbé is particularly excellent in the film–oh, another problem with the film, though it’s not really its fault–the costumes, bad 1980s jackets and such. Sorry. Krabbé wears a terrible denim jacket at the end and I couldn’t let it go. But anyway, he’s great as the crime boss. Louis Gossett Jr. is great as well, as the Punisher’s old partner. As for Dolph… Dolph’s pretty good. He’s not great (his accent breaks in at a few inopportune moments), but he’s got a few great scenes in the film, particularly when he’s working with kids and he and Gossett have a good scene together. He also manages to deliver the Punisher sound bites well.

There’s a certain amount of right-headedness working for the film. The wrong-headedness, which runs rampant of course, includes the Punisher running around with Dirty Harry’s .44 Magnum. It looks really silly. The film works because of the writing. Boaz Yakin has probably dropped the credit from his filmography (maybe not though, I mean, Dirty Dancing 2 is on there), but it’s a well-constructed script. The film moves fast (though it’s not particularly engaging for much of the middle), slowing down for the occasional action sequence, but Yakin gives the characters some meat, particularly Gossett’s. He lets Gossett tell a character-defining story, a device I always like. Given how much Garth Ennis’s relatively recent (three years?) handling of the Punisher character has changed my view of the character, its limits and its possibilities, Yakin does a great job. The film puts the Punisher alone a lot, something comic book movies have never been comfortable doing, and it works out. Lundgren does make some silly expressions, but the emphasis (and his performance) work out, overall.

There are fifteen more minutes of The Punisher out there (I always expected a special edition DVD to tie-in to the recent adaptation, but it never happened) and they might be what the film needs–more scenes without guns. The film’s a difficult proposition in the first place and the handling of it, given its era and the budget and the cast and crew, has a lot of problems. So its relative successes become prominent. They make it a memorable film, which is odd–remembering a Dolph Lundgren film because it works… to a degree.

1.5/4★½

CREDITS

Directed by Mark Goldblatt; written by Boaz Yakin, based on the Marvel Comics character created by Gerry Conway, John Romita Sr. and Ross Andru; director of photography, Ian Baker; edited by Tim Wellburn; music by Dennis Dreith; production designer, Norma Moriceau; produced by Robert Mark Kamen; released by New World Pictures.

Starring Dolph Lundgren (Frank Castle), Louis Gossett Jr. (Jake Berkowitz), Jeroen Krabbé (Gianni Franco), Kim Miyori (Lady Tanaka), Bryan Marshall (Dino Moretti), Nancy Everhard (Sam Leary), Barry Otto (Shake), Brian Rooney (Tommy Franco) and Zoshka Mizak (Tanaka’s Daughter).


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