Imagine John Carpenter’s The Thing… but underwater. That’s pretty much what you get with Leviathan, a gooey aquatic creature feature that borrows heavily from both the Thing and Alien’s book, but when you consider how equally desolate and open to monstrous imaginations the arctic, oceans and deep space are it’s not hard to see how minds think alike, whether great or not. Is Leviathan great? Well.. no, but it’s not terrible and puts on a good, enjoyably gory show populated with a cast that can *definitely* be counted as great. On the ocean floor somewhere in the Caribbean, a team of deep sea miners discovers a derelict Russian vessel that was sunk on purpose, and it soon becomes clear why. Their salvage run ends up snagging an unseen stowaway, some horrifically slimy aberration that slowly but surely dispatches members of the crew before showing up in prosthetic form that reminds us so much of The Thing its a wonder there was no lawsuit. Peter ‘Robocop’ Weller puts on a great show as their captain, a jaded intellectual among lowly grunts who just wants to evacuate the team and be rid of the whole endeavour. Others are played by the likes of Ernie Hudson, Hector Elizondo, the eternally hammy Richard Crenna, Lisa Eilbacher, Michael Carmine and Daniel Stern in a role… well what can you sway about his role here. As obnoxious, chauvinistic scumbag Sixpack, he pretty much cements his duty as first to go when the monster shows up and stands as patient zero for most hate-able character out there. We also get Meg Foster as the obligatory shady corporate bitch whose interests lie in dollar value rather than the safety of her employees, an ill advised standpoint that causes Weller to spectacularly one-punch her right at the end, which is a stand up and clap moment. Directed by 80’s genre maestro George P. Cosmatos (Tombstone, Cobra, Rambo), this is a solidly entertaining horror yarn with a schlock feel and although it shamelessly borrows from other, better films, one can’t help but brush that off when you consider the effort made and how fun it is. It’s funny, the late 80’s was a heyday for underwater horror/sci-fi and between other fun titles like James Cameron’s The Abyss, JP Simon’s The Rift and Sean S. Cunningham’s Deepstar 6, this one holds its own. Listen for a great Jerry Goldsmith score too, a loopy composition that samples the howling bleeps of a sonar device to hilarious effect. Good times.
Sylvester Stallone has never been leaner, meaner and more badass than he was in Cobra, an absolutely unapologetic piece of hyper-violent, deliriously blessed trash from the 80’s, that glorious decade of synth pop music, neon lights and action spectacle supreme. As super cop Marion Cobretti, he uses a laser sighted sub machine gun and pearl handled colt pistol to deal out justice his own way in a hellish nocturnal LA that’s under the grip of a heinous serial killer dubbed the Night Slasher (a juiced up Brian Thompson). Slasher and his disciples are murdering left and right in the most violent and cold blooded ways, and the only witness left alive (Brigitte Nelson) has to tag along with Cobra and his deadly quest. A delightful simplicity can be found in these types of films, but this one isn’t just your garden variety actioner. There’s a reckless penchant for excess and stylistic flourish put into everything from Cobra’s gorgeous 1950 Mercury to his specific weapons to the Night Slasher’s gut ventilating melee knife to the beautifully threatening synth score to Stallone’s windshield size sunglasses, this thing is pure a*e*s*t*h*e*t*i*c! It’s no wonder that auteur stylist Nicolas Winding Refn was influenced by the tone of the film and by Cobra himself, who moodily chews on a matchstick later echoed by Ryan Gosling’s toothpick in the modern classic Drive. This is admittedly largely a brainless action flick, no doubt; Stallone dispatches literally hordes of psychopathic goons with his artillery and the final showdown takes place in that ages old, sparking scrap metal factory that we’ve seen in everything from Terminator 2 to Gone In 60 Seconds. Cobra has a wise cracking partner (Rene Santoni) and is hounded by idiotic, misguided superior officers (Art Lafleur and Andrew Robinson), plus he gets to utter some one liners, so all the tropes are there. But there’s just something so sleek and specific about the film’s design that sets it apart, attention to style and design that goes a long way in bringing vision to the screen. Cobra may be just another ultra violent action flick, but it’s cool in ways that others aren’t tuned in to, and I fucking loved it for that.
Frank and Kyle join teams to talk about one of their favorite, and underappreciated films from the 80s, George P. Cosmatos’ LEVIATHAN starring Peter Weller, Richard Crenna, Ernie Hudson, Daniel Stern, and Meg Foster. While this film does borrow heavily from THE THING and ALIEN, it’s much more than just a rip-off hybrid that stands on its own with strong performances, excellent production design, and value, and remarkable creature effects and a brooding score.
Peter ‘Robocop’ Weller vs. home invading rodents. That’s pretty much the premise behind George P. Cosmatos’s Of Unknown Origin, a warped little TV movie that takes on battling rats as a central plot-line, with a straight face no less. Usually this type of thing would be a campy SyFy original with screensaver special effects and the tonal towel already half thrown in. This one goes for full realism though, or at least tries, and it’s an odd mixture. Weller plays a mild mannered businessman who just gets so irked by those pesky vermin, enough so that he saddles up in all kinds of elaborate gear that would make Christopher Walken in MouseHunt jealous, and trawls the hallways and ducts of his townhome like a looney head, trying to kill the little bastards. There’s a vague satire angle in terms of his job, office politics and whatnot, which is one more thing you wouldn’t really find in this type of flick, if it were garden variety, but this one avidly shirks the standards. The rats are treated not as spooky monsters or a shadowy hidden legion, but the outright heinous plague they are on society. I got a try-hard metaphor vibe out of this one, something like these things representing the decaying monotony of the proverbial ‘rat race’, and one lone suit and tie renegade who aims to blast the gnawing pet peeve out of the water, like Michael Douglas in Falling Down. Or maybe it’s just a flick about one lone crazy dude who just really doesn’t like rats. Either way, it’s a bizarrely constructed little thing that ducks the limbo bar of genre and darts off in it’s own slightly dysfunctional direction.