“We shall committ many sex crimes together, brother”
Quite often the phrase “for its time” is used when trying to evaluate movies, but I’ve no idea as to when the use of rape as narrative punctuation was ever considered an acceptable thing. I also appreciate that saying such things is a strong opening for a review, but when it’s in the lynchpin of the first, second, and every subsequent scene in this sword-and-sexual-assault fantasy its discussion needs to be as prominent as writer Howard R. Cohen and director James Sbardellati made it.
If there’s one thing Roger Corman likes in his movies, beyond wild excitement and firm budgetary control, it’s knowing that it’s going to make money. Sometimes that means going with a hunch and betting on an outsider idea capturing, and monetizing, the zeitgeist. Sometimes, like here, it means going with what’s been proven to work and hoping that there is enough of a wave of other people’s work to ride into the black on. Or, more specifically, several somethings that have been hammered together and, hopefully, won’t show the welds too much.
h4>The chances are that, based purely on the title of this film, you’ve already made up your mind if you are interested in this film or not, as no one comes up with “Humanoids from the Deep” if they want to make things enigmatic and surprising. Names like that are meant to evoke a certain set of feelings, much like how these kinds of films are designed to evoke a set of emotions whilst watching them. It’s not meant to be smart; it’s meant to be an obvious signal of a specific kind of entertainment. It pretty much screams “this will be puerile and base, in the most amazing of ways!” and then holds out an open can of beer and a smoke to entice you in. The good news is that this film delivers on those promises, the only problem is that it’s intercut with two other films that manage to do both more and less.