During the 1990s it felt as if horror movies had descended into the visceral and psychological methods of storytelling, such as In the Mouth of Madness, or Jacob’s Ladder, or Candy Man, or even Freddy Krueger exploring the realm of mythology in New Nightmare. Some monster flicks kept to their proverbial roots. The payout, of course, is what typically happens with most creature features, when the directors, producers, screenwriters turn on the cheese factor and make the movie a satire, such as Arachnophobia or Gremlins 2 or The Faculty. Seldom do we find anything that’s actually haunting. Anything that makes us sit on the edge of our seats. Anything that forces us to watch even though we want to look away. The horror pickins are slim. There is one director, however, who, up until this point in his career at least, did not bow to cheese in order to make a monster movie. Of course, I’m talking about 1997’s cult hit creature feature, MIMIC, directed by none other than Guillermo del Toro. Before del Toro was pitting giant robots versus behemoth sea monsters, his work was subtle and carefully crafted, honing in on character building and turning on the suspense until the deluge spilled over into a wonderfully cataclysmic conclusion. Thus was the work of Cronos and The Devil’s Backbone, and also what we get with Mimic.
Before we begin, here is a classic IMDB synopsis:
“Three years ago, entomologist Dr. Susan Tyler genetically created an insect to kill cockroaches carrying a virulent disease. Now, the insects are out to destroy their only predator, mankind.”
Bravo IMDb, bravo. Yet again another astute generalization of one of my favorite creature features. You’re not wrong, IMDb, it just feels a tad oversimplified. For starters, if you’ve seen Mimic, but haven’t seen the Director’s Cut, stop now and go rent/buy/whatever you need to do to see this edition. Let me tell you, I was happy with the original version, but I LOVE this Director’s Cut. And sure, it really only adds about nine minutes or more of footage, but those added moments really help make the story shine all the better. I especially love the added bits at the beginning, the extended opening sequence that shows us this ravaging disease called Strickler’s, that is decimating a huge percentage of New York City children, and then we get Dr. Susan Tyler, played fantastically by Mira Sorvino . She genetically creates a new species of insect called the Judas breed. They target the city’s cockroach population, releasing an enzyme which causes the roaches metabolism to speed up and starve themselves to death. The Judas breed was created to be all-female with a short life expectancy. The last opening clip (from the Director’s Cut) shows Dr. Tyler releasing the Judas breed into the sewers. She kneels and watches as her “children” begin their work as she is stylistically swarmed by roaches. And a moment later we see a river of dead cockroaches and an announcement from the CDC that they have eliminated the “Strickler’s” disease.
Fade to black.
Now we find ourselves three years after the release of the Judas breed. Just three years. What can happen in such a short span of time? Well, if there is any indication from the name of the insect, Judas, well…historically things have never really worked out with things named Judas. Not to mention any species introduced into the wild trusting that a genetic “all-female” plug will hold, I mean, haven’t these people seen Jurrasic Park? To quote Ian Malcolm, “Life will find a way.” And life certainly did find a way, as our scientists are soon to find out. After the fuzzy “all-is-well-with-the-world” moment, the movie opens again on a man being chased onto a roof at night in the rain. Here we get our first glimpse at what has become the Judas breed. Strange clicking sounds and an odd shadowy face and the outline of what looks like a man in a black trench coat. The movement of this mysterious “man” and the design are incredibly creepy, and no wonder, as legendary The Thing and The Howling practical effects master/guru Rob Bottin had a hand in the development of the creature.
Let me stop here for a moment. I have a confession. Bugs freak me out. I think this is a well-known fact if you’ve read any part in my Subdue Series books you should know. I’m not sure why. I don’t recall being traumatized as a child, not with insects at least. The My Buddy doll my folks got me for Christmas is another subject entirely (thanks, Sis!). I think people have their own thresholds for fear. Some hate clowns. Others hate anything to do with eyeballs. Some teeth. For me, big nasty arthropods are what tickles my medulla oblongata (technically the amygdala, but medulla oblongata sounds cooler). Too many legs. Nightmare mouths. Multiple glass eyes. Ugh!!! And as the movie, Mimic, was so kind to point out in Dr. Tyler’s lab of horrors, certain species of insects can do some rather impressive stuff, such as certain warrior ants that even when injured will continue to attack. Wasps that turn prey into zombies. Spiders that lay eggs inside a host to be consumed as a snack when the babies hatch. It’s not evil in the sense of good or morality. There is no morality when it comes to insects. To quote another Jeff Goldblum line, “Insects… don’t have politics. They’re very… brutal. No compassion, no compromise.” And here perhaps is what trips my fear sensor the most, the absence of compassion, compromise, especially in something as large as what the Judas breed becomes.
Soon after the death of the man on the roof and some cut scenes of Dr. Tyler and her husband, Dr. Mann, and their on-screen hopes of becoming parents, solidifying again the overarching theme of Mimic, fertility, some well-meaning “hood-rat” children out to make a quick buck bring Dr. Tyler an “interesting” find they discovered below ground near one of New York’s many metro tracks. Dr. Tyler soon realizes just what this large bug really is. Though “just a baby,” as she says, the creature is as large as the palm of her hand. But Tyler isn’t alone in her lab. There’s a shape at the window, a mysterious “man” in a dark trenchcoat. Okay, pause. I have to once again give a nod to both Rob Bottin and the original author of the creature in this flick, Donald Allen Wollheim who came up with the short story, titled, “Mimic,” a first-person narrative about a dude who notices a strange “man” in a trenchcoat standing on the streets in his town but never says anything to anyone. Following the sound of screams, the narrator discovers the “man” dead in his apartment, but upon closer examination, he unveils that the mysterious “man” isn’t a man at all, but a large bug imitating a man. This, for me, adds to the creep factor here. Not only are we dealing with larger than normal insects, but we’re dealing with an insect that has evolved to “mimic” us.
Stories begin to collide at this point. All leading back deep underground onto some abandoned metro tracks that would inspire curious urban spelunkers to explore. Dr. Tyler, Dr. Mann, officer Leonard (played wonderfully by Charles S. Dutton) and Manny (a father searching for his lost autistic son who “followed” the Judas breed into their underground metro hive). All these motivations would seem to make the movie feel too complicated, but in actuality, they add to the movie’s believability. That they happen upon each other, sure, could be a stretch, but otherwise getting a glimpse at their personalities and motivations actually benefits how audiences feel towards them. I wanted them to survive. There were no “villains” here. Even Dr. Mann’s doomed assistant, Josh (played by Josh Brolin), though kind of cocky and moronic, you don’t hate the guy and you felt something when he was killed off, fairly horribly I might add. All this was accomplished without a bunch of unnecessary backstory. At this stage in del Toro’s career, he had made a name for himself for interweaving likable heartfelt characters into his story, not through exposition, but dialogue and interaction.
Mimic is not without some cheese.
This is, after all, a creature feature.
Whoever came up with the genius plan to get the old boxcar trolley operational is…a moron. Seriously. But, not altogether unrealistic. People come up with horrible ideas all the time. Consider the Shake Weight exercise dumbells. Yup. Someone thought that was a good idea too. No, though the trolley idea was moronic, it was not out of the realm of what someone in that situation would probably do. The real cheese for me was what the “King” Judas bug was doing at the end. But, let me explain the entry of this “new” character. Nearing the climax, we discover that part of the genetic code used to create the Judas breed came from a species of insect that has one male as the only fertile member of the colony. Of course, they had created the species as “all-female,” thus supposedly limiting the lifespan of the Judas breed exponentially. However, as fans of Jurrasic Park should know, “life finds a way,” and thus the species adapted. Part of the enzyme that gave Judas the ability to eliminate the cockroach infestation by accelerating the roaches reproduction rate, essentially burning them out, in turn, gave them the ability to mass reproduce at an alarming rate. Consider how in just three years the Judas went from cockroach size to human size, developing the necessary biology in order to grow. Reproduction, fertility and natural childbirth seem to be a motif in Mimic.
Back to the cheese.
A big creep factor in this movie was the fact that these insects were not acting in any personal way. Insects do not have politics, remember. They simply…are. They do as their genetic makeup implies for them to do. They attack when provoked. They feed and breed for survival alone. There is no pleasure, “no compassion, no compromise (I’m telling you, Jeff Goldblum should have been cast in this movie as Dr. Mann).” That said, in the end, the “King” Judas bug didn’t seem to be following the movies preestablished rules of insect politics. The “King” acted mightily pissed off. Before being mowed down by a subway car, that sucker “looked” like he wanted blood. Half-burnt, limping after Dr. Taylor. But, that’s just a small blip on an otherwise decent and definitely creepy creature feature flick. My only other “WTF” is the last line in the movie when Dr. Taylor and her bo Dr. Mann reunite, both are happy the other survived the subway fire that wiped out the Judas colony. Dr. Mann whispers in his wife’s ear, “We can have a baby,” or something to that extent. As the last line, this kinda has me in a loop. After everything they survived, the ordeal, that’s what he tells her? This, of course, brings the circle around regarding the theme of natural childbirth and fertility. But what did it answer? Or better yet, what question did it raise? Unnatural fertility will breed monsters? Seriously? Maybe I’m missing something.
Regardless, Mimic was an excellent escape from the visceral and psychological methods of storytelling that seemed to dominate the 1990s. And Mimic was definitely one of del Toro’s best pictures if you ask me. This flick could have very feel come off as a cheap B-movie, it had the trappings for such a disaster, but it didn’t. Mimic came out as a genuinely creepy monster movie. If you haven’t seen this one, you need to, but be sure to watch the Director’s Cut. It’s only really nine minutes of added footage, but those added moments make the movie all the better.
My rating: 4 out of 5
Thomas S. Flowers is the published author of several character driven stories of dark fiction. He resides in Houston, Texas, with his wife and daughter. He is published with The Sinister Horror Company’s horror anthology The Black Room Manuscripts. His debut novel, Reinheit, is published with Shadow Work Publishing, along with The Incredible Zilch Von Whitstein and Apocalypse Meow. His military/paranormal thriller series, The Subdue Series, both Dwelling and Emerging and Conceiving, are published with Limitless Publishing, LLC. In 2008, he was honorably discharged from the U.S. Army where he served for seven years, with three tours serving in Operation Iraqi Freedom. In 2014, Thomas graduated from University of Houston Clear Lake with a BA in History. He blogs at machinemean[dot]org, where he does author interviews and reviews on a wide range of strange yet oddly related topics. You can keep up with Thomas and all his strange books by joining his author newsletter, at http://goo.gl/2CozdE.
You can get Reinheit for $2.99 on Amazon!
Resident Evil, for all its flawed and confusing movie adaptations, cannot seem to lose its 1990’s nostalgic luster. Who can honestly say, despite all the years of watching Millia Jovoich in a constant one woman carnival, that they still do not have some fondness for the franchise, or the original game at the very least? Being scared witless as decaying dobermans crashed through the windows of a hall previously thought cleared, will forever be how I understand and love Resident Evil (Directors Cut): as survival horror at its best. And it might seem silly now, especially with how gruesome video games have become, but back in 1996, this was good stuff; still is in my opinion. Who can forget this particular scene below?
Turning the corner, this was our first encounter with Resident Evil’s zombie, and our lives have since been forever changed! The Romero styled walking corpse was the big appeal with Resident Evil as a video game, for me at least. The other monsters were cool, but the zombies were the foundation. And the zombie, one could say, was the contributing factor for the original movies success with fans. Albeit, when Resident Evil became a film, it was already fighting an uphill battle, especially when considering how in 2002, video game movie crossovers were all stinking awful (Yes, even Mortal Combat was not as good as it could have been. Nerd blaspheme? Perhaps, but its honest). Paul W.S. Anderson definitely had a monumental task ahead of him. However, before moving on with this review regarding Anderson’s take on Resident Evil, we need to mention the original writer/director tasked with bringing this beloved game to the big screen, George A. Romero. That’s right folks, the undead king himself was hired after directing a popular Japanese commercial for the Resident Evil 2 video game, back in 1998. Romero’s script remained close to the original story with the game, keeping Chris Redfield and Jill Valentine as the main protagonists and the plot evolving around the mansion located in the Arklay Mountains surrounding Raccoon City Forrest. There were minor changes to some of the characters and to the story itself, but these were minimal and did not overt the overall story in any negative way. Thankfully Romero’s script still survives, you can check it out here.
As for Mr. Anderson’s take, its hard to hate it completely, especially considering how well it fared as an early crossover when all the other crossovers at the time sucked ass and other obstacles he faced, including die-hard Romero purists who had heard about their icons rejected script and boycotted the film. But Anderson did an honest revision on the story, stepping away from the video game hierarchy, though not completely, and creating an original piece that could navigate, as best it could, around angry nerd criticisms. This is also the film where the crooked ankle zombie walk became popular, so kudos to the actor who made that possible! However, with the positives, there will also be negatives, so lets divide this review between the two.
James Purefoy is one of the best modern horror villains (see The Following). He’s not monster, per-say, he just has a different perspective on life; he’s a character, not a caricature , and a part of that is why he’s so enjoyable to watch on screen. Another positive and enjoyable aspect from the film was the Umbrella Special Ops Team, sent into the mansion to breach the underground laboratory. Watching these guys (and girls) was like watching a squad of Colonial Marines, complete with their own tuff as nails Private Vasquez, or as I like to call her, 1980’s Michelle Rodriguez. Obviously, Mr. Anderson had a solid and well scripted cast, which helped develop an enjoyable atmosphere of suspense. The zombies were good; though, there were some unnecessary attributes we’ll discuss with the next section. The dogs were awesome and traditional, to an extent. Though I wasn’t really thrilled with the whole “red queen” A.I. scenario, it definitely added to the mess of humanity verses our own creations; the age old warning against unrestrained scientific development. Another positive was when Matt Addison shouted “Get over here,” a totally awesome nod to Anderson’s video game movie crossover, Mortal Kombat. And, the general overwhelming feeling of eeriness felt throughout the entire picture, even after the cheesy action sequences.
Despite Mr. Anderson being able to pull off something decent, he still fell into the action-horror trap: overusing CGI. We won’t get into the deep end of the debate, but let me mention, again, that CGI has its place and can be used in horror to its benefit; however, directors tend to overuse computer graphics because in the long run its cheaper than developing awesome hand crafted effects. Be that as it may, the issue with CGI is that technology is constantly improving and the programs and designs we come up with now will look totally cheesy later down the road. Horror movies should be built to last. Consider Carpenters masterpiece, The Thing (1982),if you need a reference for a how an amazing timeless piece of horror should look. During the plot development, there was an unnecessary “ticking clock” scenario playing out; when in the end, the other guys end up being able to open the sealed doors. Their mission should have been a plain and simple rescue and intelligence gathering op. Anderson using the Hunter as the “big bad” when he should have used the Tyrant, was also disappointing. With the Tyrant, he could have skipped over the worst CGI created creature ever (though, to his credit, the Hunter probably looked cool 11 years ago; but then again, this adds to my above argument regarding the use of CGI).
The Bottom Line:
Mr. Anderson’s take on Resident Evil wasn’t horrible, though it could have been much (much) better. And i’ll always wonder how George A. Romero’s movie would have looked like, but then again, because he was turned down for this flick, Romero was then able to work on his Land of the Dead script, which he finished at the dawn of 9/11 (thus having to go back again and redesign the story for the new “normal”). Sometimes, even though we don’t really understand it at the time; things end up working out. Ultimately, Resident Evil was enjoyable to watch, and should most certainly be added to you’re zombie playlist for Halloween. You could also throw in the second adaptation, Resident Evil: Apocalypse, which was, in my humble opinion, just as good as the first. What could be said that hasn’t already been said? Sometimes horror moves fail to stand against the test of time, but even 11 years down the road, Resident Evil isn’t half-bad. And secretly, i’m hoping for a future remake based more on the video game. Maybe even perhaps a completely fresh reboot with Romero’s vision in mind! How awesome would that be? And lastly, how could I end this review without giving kudos to Anderson’s nod toward Romero (pictured below). Respect yo!