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Movie Title: Leviathan Leviathan is available for streaming or downloading. |
Coming in the gradual 1980s with all the momentum sprung from the “Alien” unique and first bid, “Leviathan” sought to select the alien model underwater, where a group of trash collectors fights on-board monsters with saws and flamethrowers.
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The producers of this film knew a top-notch model when they found it and obviously allowed the audience to laugh at their copycat ways by creating aliens that alternately glance like tongues with teeth and keen intestines. There’s also a paean to the loyal “Alien” come the slay that Peter Weller does away with by squishing it’s head in an elevator shaft.
And, in the final scene, you won’t gain how hokey and humdrum this kind of movie could be objective a few years before the advent on high tech and high gloss computerization became de riguer in this type of thing. It’s worth it to sit through the whole thing impartial to gawk that unbelievably dreary final scene.
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Weller “starred” in this vehicle two years after his biggest hit, 1987’s “RoboCop”. This didn’t do grand for his reputation even though the cast included some colossal spy candy in Amanda Pays and the steely blue eyes of Meg Foster. A solid supporting cast headed by the expansive Richard Crenna, Ernie Hudson and Hector Elizondo offer a high level of acting credibility.
Still, they can’t design sense of this mishmash which, oddly and fantastically, collected works as fear. Leonard Maltin says to, “Skip it” on this one but I’d disagree. I mediate there’s enough humor, whether intentional or unintentional, study candy, schlock apprehension and pretty acting to give you your money’s worth. It didn’t work as a grand release in the theater but it’s exquisite excellent entertainment on a Tuesday night on your home system.
Plot synapsis: Underwater mining rig, day 87 of a 90 day tour, goof-off sexist jerk wanders off and finds a sunken Russian freighter.
The cast consists of Peter Weller as the geologist boss, Richard Crenna as the semi-doctor and crewed by Ernie Hudson (who gets some of the best lines and steals his scenes), Amanda Pays (and her annoyingly counterfeit accent) Daniel Stern, Michael Carmine, an adorable Lisa Eilbacher, Meg Foster (what IS it about her eyes? And why was she trying so hard to do a crappy acting job? ), and the astonishing Hector Elizondo.
After ALIEN did the troubled house in site so successfully there were a lot of immitators. Then we had a few underwater adventures which did fairly well in a vauge sort of scheme. Mediate of this as a cheap diagram of combining both. Except for Pays and Foster, we have a group of really graceful actors working in an underwater mining facility.
Personal note: Seriously, if this had been valid and I was Pays’ charactor I would have severly distress the Stern character. His behavior was borish to the point of distracting from the movie and something no decent boss would have allowed.
Anyway, the movie mask said the magic words: GENETIC MUTATION! I was twisted, as always. Pays and Stern are outside doing their job when Stern wanders off (why? ) and falls off a cliff. Movie goers probably cheered at that point. Pays goes after him, wandering through fakey looking sea worms and finds the Russian freighter. I liked the scary fish that pops up in Pays’ face. Stern shows up with a large marvelous, carrying it like it weighs 20 pounds instead of several hundred and they head help.
The wonderful contains a lot of ‘personal effects’ from deceased crewmembers which should have triggered a lot more anxiety than it did. Sterns character slips out a flask of vodka and hides it. Eilbacher’s character sees him do it, and later talks him into sharing it with her. Because of the coarse exertion of the job, alcohol is not permitted there.
Eventually the Crenna figures out the Russians were doing GENETIC EXPERIMENTATION (I worship this stuff) on it’s absorb crew by doctoring their vodka. By the time Crenna comes up with that of course, Stern and Eilbacher are already infected. It hits Stern first, and hardest, then things originate getting out of control.
Up to this point the movie does quite well. It’s best effects were, unfortunately, the ones you don’t leer, using shadow and noise. As wonderful as the cast mostly was, the sets, the production, etc., the special effects were really bad. Or to save it another map, they were unbiased cheesy and dreadful, a jarring sign to an otherwise intriguing movie.
There was not a lot of fresh material here, nothing terribly unique, but it is unruffled not unpleasant. Flawed by it’s special effects, surely, but some first-rate acting and a decent script saves it from being a B movie.
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