Movie Review: Piranha (1978)

Originally published 28 Feb 2018 on Odyssey at https://www.theodysseyonline.com/retro-review-piranha

"Jaws rip-off is technically impressive but not that fun to watch."

"Piranha" is a 1978 B-horror film from legendary producer Roger Corman. The movie was clearly made to cash in on the success of the 1975 blockbuster smash, "Jaws", swapping out one large killer fish for hordes of smaller ones. Despite being a blatant rip-off made for a quick buck, there is some amount of ingenuity behind the production. It is not enough to save the film, but the talent of the crew who would eventually go on to more respected work (the film's director, Joe Dante, would go on to greater acclaim with other creature features like "Gremlins" and "Small Soldiers") is quite evident.

The film's story is simple: during the Vietnam War, a secret government program developed a breed of mutant piranha to disrupt the Vietnamese ecosystem. The war ended, and the program shut down. The fish were supposed to be killed off, but some survived, breeding into large hordes, that of course eventually escape into the local river system and begin making their way downstream. It is then up to a plucky skip tracer (Heather Menzies) and a crusty backwoods recluse (Bradford Dillman) to save the day before the razor-toothed fish devour their way through a nearby summer camp and lakeside resort.

Not surprisingly, "Piranha" borrows many of the same techniques as "Jaws" in its presentation of its aquatic villains. The editing of the piranha attack scenes is actually quite brilliant if not a bit cheap. The film goes to great lengths to avoid showing the piranhas whenever possible, relying on shots of victims thrashing in the water and underwater point of view shots. This is perhaps for the best, because the few times we do see the killer fish, it is quite apparent that they are just puppets on sticks. Nonetheless, the editing is quite impressive: even though the trick is obvious, you buy it because it sold with conviction. When the piranha fish attack the protagonists' raft in the river, it is quite obvious there are no puppets in the water and someone is just pulling apart the log raft from underneath. However, due to the combination of sound effects and rapid cutting, the illusion actually works and you can almost buy into the scene. The film's editor, Mark Goldblatt, would later go on to edit action classics like "Commando" and "Terminator 2", and sequences like this and the resort massacre hint at the Oscar-nominated talent he would build later on in his career.

Unfortunately. technical smarts alone cannot save a film. The film has a scrappy determination, but the tone is confused. "Piranha" cannot decide whether or not it wants to be a horror-comedy or a serious film, and so it falls into a strange valley of tongue-in-cheek attitude that leaves feeling more like a fake movie that characters in a movie would be watching. The premise plays out straightforward, delivering its goofy exposition about secret government fish programs with stone-faced seriousness, but then other times the movie veers into comedy, like the scenes at the summer camp and the resort.

Perhaps it is the inclusion of Corman regulars Paul Bartel and Dick Miller in the cast that proves distracting, as both actors generally have a flair for the comedic in their roles. Perhaps it is that Joe Dante would eventually go on to direct more comedic films later on in his career, and "Piranha" was his testing ground for horror-comedy. Regardless, the little gags here and there (a woman is clearly seen reading "Moby Dick" on the lakeside before the piranhas attack the resort) leave the film in a strange state of not quite self-parody but not quite-self serious.

There is a lot to admire about "Piranha", especially given its outwardly crass commercial trappings. It is best viewed as the training ground of a crew of talented individuals who would hone their skills further on other, better films later in their careers. This is an interesting curiosity to view as a piece of work in the fledgling careers of Joe Dante, Mark Goldblatt, and even special effects technicians Phil Tippet ("Robocop", "Jurassic Park") and Rob Bottin ("The Howling", "The Thing").

Unfortunately, as an entertaining B-movie, it fails to deliver because it cannot commit fully to either being a comedy or a straight horror film. If you are really desperate for a killer fish movie, this is hardly the worst film you could watch, but you are certainly better off just sticking with "Jaws".

Rating: 5/10

Movie Review: Phase IV (1974)

Originally published 21 Feb 2018 on Odyssey at https://www.theodysseyonline.com/retro-review-phase-iv

"A cerebral sci-fi thriller like "Arrival," but with ants and a psychedelic 1970's flair."

"Phase IV" is the lone directorial effort from legendary graphic designer Saul Bass. He is known for his iconic logo designs for companies as varied as Kleenex and AT&T, and for his movie poster illustrations for films such as "Anatomy of a Murder" and "Vertigo". It may seem strange, then, that his sole foray into filmmaking is a cerebral and frequently psychedelic science fiction film about ants and their role in the ecosystem, which is a subject decidedly far removed from Kleenex or movie posters. "Phase IV" is a wholly unique experience, one that rides the line between dry documentary and abstract beauty. It doesn't entirely stick the execution overall, but it is an undeniably different cinematic experience.

The film centers on two scientists, Ernest Hubbs and James Lesko, who are investigating unusual ant activity in a rural Arizona community following an unknown celestial event. The local ant population has apparently undergone a rapid evolution, and have begun exhibiting signs of higher intelligence. The insects construct large, geometrically perfect obelisks in the desert, and appear to be attempting to communicate through their movements, similar to bees. The science team sets to work in a futuristic laboratory resembling the Epcot center, struggling to decode the cryptic messages of the ants. Are they trying to communicate with humanity? If so, what do they want? The clock is ticking, as the ants exhibit exceptionally aggressive behavior, killing any local wildlife that encroaches on the hive's territory, and driving the sparse human populace from their homes. The insects begin taking on sinister qualities, immunizing themselves against the scientists' array of pesticides and sabotaging equipment by short-circuiting the systems with hordes of worker ants. Will Hubbs and Lesko be able to crack the mysterious hive mind of the intelligent ants, or will the seemingly small threat prove to be too large for two men to handle?

The strength of "Phase IV" is its visual presentation. The ability to communicate weighty, abstract ideas through abstract montages of ant footage is an impressive feat. The ants are filmed in beautiful nature documentary style close-up by Ken Middleham (who also filmed the microphotography for the Academy Award-winning etymology documentary "The Hellstrom Chronicle") that casts them as creatures of an entrancing alien quality. By contrast, the two human scientists are constantly dwarfed by their own mechanical surroundings, like some high tech ant farm cross-section. The contrasts of organic and mechanical surroundings raise many interesting ideas about the role of our increasing mechanization of the environment. Outwardly, the movie may be about two scientists trying to talk to ants, but the movie brushes with many interesting environmental concerns that were popular talking points in the 1970s. The implications are sinister: if something as small as an ant can throw the entire ecosystem out of balance, how badly are we screwing things up on a grander scale? Ultimately, the film takes a bit of a compromise and settles for "2001: A Space Odyssey" style psychedelic visuals as a substitute for any sort of concrete answers to the admittedly broad questions it raises. Although, to be fair, the only way the film could have given any kind of concrete resolution would probably have required some form of lengthy narration, which would derail the film's hypnotic flow.

"Phase IV" is a film completely unlike any I've ever seen. It takes Michael Crichton style hard science fiction and fuses it with an otherworldly mysticism. The results are flawed, leaning a bit too much into the hippie psychedelia for its own good at times, but it's undeniably fascinating to watch. If you enjoyed the intense linguistic science of Denis Villeneuve's "Arrival", this is certainly worth looking into. There's nothing else quite like it.

Rating: 7/10

Movie Review: The Fantastic Four (1994)

Originally published 29 January 2018 on Odyssey at https://www.theodysseyonline.com/retro-review-fantastic-four-1994

"An elusive, long-lost superhero film that deserves to be rediscovered."

The 1994 "Fantastic Four" film is an elusive curiosity. The movie was only made so that the film's producer, Bernd Eichinger, could retain the rights to the Marvel Comics property. However, the film was never intended to be released, theatrically or otherwise. Over time, bootleg copies of the film have surfaced and have circulated among fan communities, building a small cult following. The cast and crew were never made aware of the producer's intentions to never release the film, and the result is a scrappy low-budget superhero film with a big heart.

"The Fantastic Four" tells the origin story of both the titular superhero team and the villainous Doctor Doom, borrowing various elements from the early 1960s issues of the comic book. A team of scientists and pilots consisting of Reed Richards, Sue Storm, Johnny Storm, and Ben Grimm are bombarded with radiation during a failed space mission and gain superpowers as a result. They are promptly kidnapped by Doctor Doom, Richards' former colleague. The film then wanders off into a strange back-and-forth of muddled motivation. The superhero team escapes, and Doom hunts for a diamond that will help him harness the same cosmic radiation that gave the Fantastic Four their powers. The diamond, however, has been taken by the Jeweler, a subterranean thief who serves as a stand-in for the Fantastic Four antagonist, Mole Man. Superhero action ensues, with battles underground and in Doom's castle. This is all standard operation for a superhero movie, but the presentation is what makes the film stand out.

The film was reportedly made for only one million dollars, part of which was funded by legendary B-movie producer Roger Corman. Given the circumstances, the film looks quite impressive. Much of the budget seems to have gone to special effects to create Ben Grimm's superhero persona, The Thing. Of the four cinematic adaptations of the Fantastic Four comic, this low-budget effort somehow has the most accurate representation of The Thing; it borrows the exaggerated features of Fantastic Four co-creator Jack Kirby's original depictions of the character. There is also a surprising amount of articulation to the animatronic Thing mask, giving it slightly more life and expression than one might expect from a low budget animatronic effect.

The film's acting is suitably schlocky, as well. The campy, foppish presentation of Doctor Doom is perhaps the best version of the character to grace the screen. There's cartoonish bombast to the performance that recalls the melodramatic soap opera spirit of superhero comics. Too many superhero movies, it seems, are afraid to look silly or embrace the inherent goofiness of their source material. The 1994 "Fantastic Four" revels in its own silliness with a respectful grace. Early in the film, the scientist/pilot group is affectionately referred to as the "Fantastic Four" before their superhero transformations, and this ham-fisted bit of name-dropping does not feel glib or ironic. The movie takes itself seriously despite the inherent cheesiness of a rushed low budget production, and it emerges with an air of unselfconscious dignity.

There is a documentary about the making of the film, "Doomed: The Untold Story of Roger Corman's Fantastic Four", that confirms my thoughts that everyone involved was trying their best in spite of the circumstances. To hear the cast and crew discuss their work on the film is to hear people who were passionate about their craft, even if the project at hand was a superhero B-movie. The 1994 "Fantastic Four" is rough and uneven, prone to a wandering plot and cheap-looking sets, but it is a film bolstered by people who truly believed in the project. A fiery can-do spirit exudes from this film. It may not be a masterpiece, but this is certainly a case of giving an A for effort. Maybe one day this film will get the official release it deserves, and the cult of "The Fantastic Four" can grow even larger.

Rating: 7/10

3 Comics That Every Comic Fan Needs To Read

Originally published 23 Jan 2018 on Odyssey at https://www.theodysseyonline.com/best-comic-books-out-now as "3 Comics That Anyone Who Is A Fan Needs To Read"

"Here are three of the wildest, craziest, and all-around best comics being published right now."

I am a lifelong fan of comic books. I read a large variety of comics, from the more mainstream superhero titles to smaller indie titles, to long-forgotten series of years past. Here are three comics out on the stands right now that are worth checking out whether you are a comic book novice or a hardcore fan looking for something new.

1. "Sex Criminals"

"Sex Criminals" is a raunchy, adults-only crime comedy from writer/artist team Matt Fraction ("Hawkeye", "Ody-C") and Chip Zdarsky ("Howard the Duck", "Jughead"). The comic follows Suzie and Jon, a couple who can temporarily freeze time when they orgasm.

The couple soon runs afoul of the sex police, a self-appointed law enforcement team who uses their own time-freezing powers to stop people like Suzie and Jon from using their powers to break the law. Thus far the comic has centered around this conflict and various relationship struggles faced by the couple outside of their superpowered shenanigans.

The series is gleefully profane, but also has a surprising amount of pathos. In between the immature jokes is a thoughtful exploration of the difficulty of navigating relationships. The series is also pleasantly progressive, addressing topics like asexuality and respect for sex workers, topics that are rarely addressed, let alone addressed with nuance.

"Sex Criminals" is a funny and frequently poignant exploration of human sexuality and relationships. It is certainly worth checking out if you don't mind looking your local comic store proprietor in the eye as you purchase a comic entitled "Sex Criminals".

2. "The Chilling Adventures of Sabrina"

A gritty horror reboot of "Sabrina the Teenage Witch" may seem ridiculous, but it is a shockingly well-written and believable take on the character. "Chilling Adventures" is set in the early 1960s, contrasting squeaky clean suburban Americana with spine-tingling eldritch terrors.

The witches of this comic are more akin to the forest-dwelling Satanists of the 2015 film "The Witch" than the wacky hijinks of the Melissa Joan Hart sitcom. The comic takes itself completely seriously, which helps imbue each issue with a creeping dread. Sabrina must deal with her status as a new member of the coven, the looming presence of the mysterious Madam Satan, and her reanimated boyfriend (who unbeknownst to her is possessed by her warlock father).

This comic is lurid, pulpy, and full of rich atmosphere. Robert Hack's artwork is truly incredible, rough watercolors and ink wash illustrations in autumnal oranges and blacks, giving it the feel of some long-lost, faded copy of a 1960s horror magazine like "Creepy" or "Eerie". The imagery is positively ghoulish: "Chilling Adventures"'s renderings of black masses make witches scary again for the first time since the 18th century. With a Netflix adaptation of the series on the way, now is as good a time as any to check out this modern marvel of horror comics.

3. "Doom Patrol"

The Doom Patrol has always been an oddball team of superheroes, and Gerard Way's current run on the series continues in the grand tradition. This continuation weaves together elements from both the original 1960s series and celebrated run of issues written by comics legend Grant Morrison in the 1980s and 1990s. Way's take on "Doom Patrol" represents a synthesis of the derring-do spirit and pop art sensibilities of the 1960s shine through, and the outlandish eccentricities of Morrison's stories.

The new series centers around a new character, Casey Brinke. She is a fictional comic book character within "Doom Patrol"'s continuity, brought to life by circumstances too complicated to summarize here. Despite the surreal, dense continuity of the comic, Brinke serves as the reader's guide into the strange world of "Doom Patrol", so everything winds up making its own strange sort of sense in the end.

The comic recently brought back a longtime "Doom Patrol" antagonist, Mr. Nobody, a dadaist supervillain who seeks to reduce everything in the world to nonsense. Gerard Way's "Doom Patrol" is a refreshing superhero comic that feels pleasantly nostalgic yet hip and modern. It is mind-bending and continuously inventive, and as true to the "Doom Patrol" spirit as any fan could hope.

Cult Filmmaking: A Cinema Of Inspiration

Originally published 10 January 2018 on Odyssey at https://www.theodysseyonline.com/cult-filmmaking-cinema-of-inspiration

"Sometimes, even "bad" movies can be motivating and inspiring."

I am a longtime enthusiast and proponent of cult cinema. I believe there is value in examining the odd, offbeat, and amateur of the filmmaking world. One might not expect to find anything beyond entertainment value in films like "Miami Connection", "The Human Tornado", or "Fateful Findings", but there is often something quite inspiring to be found in these kinds of movies.

A majority of cult films are the result of one person's passion and drive, and that is truly inspiring. Directors like Neil Breen ("Fateful Findings") and Y.K. Kim ("Miami Connection") toiled to create films that espouse their viewpoints. The end result may be a sloppy and clumsily made film, but to watch it is to see the director's passion pouring forth. Nothing, not even lack of money or lack of filmmaking know-how, will stop these directors from bringing their vision to life.

The self-confidence and determination of these people are astounding. I have heard many of my talented film school colleagues express concern or doubt over the quality of their work. If film students, who at least have the know-how (if not the money), had even half the determination of a filmmaker like Neil Breen, the world would have considerably more good films.

Rudy Ray Moore, comedian and blaxploitation film star, is far more talented as a comedian than as an action hero, and thus the fight scenes in his films are rather clunky. Rather than hire a fight choreographer or stunt doubles for Moore's "The Human Tornado", director Cliff Roquemore simply speeds up Moore's fight scenes, giving them the look of a silent slapstick comedy in the spirit of Chaplin and Keaton.

The lack of self-consciousness in these films is incredibly motivating. Roquemore and Moore found an inexpensive way to work around an obstacle and hoped for the best. It may look cheap or silly to some, but I think it is actually a brilliant move on their part.

The thing I admire so much about cult films and the people that make them is that they circumvent the traditional means of producing films and just get out there and bring their ideas into reality. There is a do-it-yourself ethos in these films that I find endlessly inspiring. If filmmakers like Neil Breen or countless other "bad" filmmakers can get their films out to the world, certainly the young film students of today can get out there and make something even better.

The best part is that it is wholly possible to make shoestring budget passion projects and genre films that are competently made. Filmmakers like Sam Raimi ("The Evil Dead") and John Waters ("Pink Flamingos") got their start making cheap exploitation, in part due to each filmmaker's love of supposedly "trashy" low budget films, and moved onto more mainstream success. Cult films are an inspiration: if some guy can make an enjoyably bad film, you can surely get out there and make an enjoyable, good film.