More in-depth film festival coverage than any other website!
Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 
Advertisement

Overall Rating
1

Awesome: 0%
Worth A Look: 0%
Average: 0%
Pretty Bad: 0%
Total Crap100%

1 review, 0 user ratings


Latest Reviews

French Dispatch, The by Peter Sobczynski

Halloween Kills by Rob Gonsalves

Dune (2021) by Peter Sobczynski

Halloween Kills by Peter Sobczynski

Last Duel, The by Peter Sobczynski

Venom: Let There Be Carnage by Jay Seaver

Joint by Jay Seaver

Wife of a Spy by Jay Seaver

Blue Bayou by Jay Seaver

Introducing, Selma Blair by Rob Gonsalves

subscribe to this feed


Behemoth
[AllPosters.com] Buy posters from this movie
by Rob Gonsalves

"An empty calling card."
1 stars

Peter Szewczyk (credited here as Sefchik) is a digital-effects artist who has worked on a few "Star Wars" films and "Avatar." So in his feature directing debut "Behemoth," we know the monsters and other effects will be first-rate. Unfortunately, everything else in this underpopulated mash-up of paranoid corporate thriller and trippy supernatural horror is second-rate at best.

Joshua (Josh Eisenberg) is a father driven around the bend by grief and guilt over his ailing little daughter, whose disease may have been caused by the chemical company he used to work for. Along with a couple of friends, Joshua kidnaps a higher-up at the company (Paul Statman) and keeps him at a motel, hoping to force a confession: what poisoned his daughter?

This crime is all over the news, so it’s odd that the cops don’t bother to question Joshua’s wife Amy (Whitney Nielsen), who’s staying in a hospital room with their daughter. Instead, every time we hear from Amy, she lays a guilt trip on Joshua for not being there for his daughter. Meanwhile, Joshua’s friends give new meaning to the word “inept,” and an assassin from the company is closing in. There are also numerous hellish visions involving what seems to be a possessed goat, as well as sundry other beasties and Natural Born Killers-style strobe-cuts flashing gore-soaked demons and butchers.

That last element seems to be where Szewczyk’s heart is. As I noted about Wishmaster, the directorial debut of practical-effects maestro Robert Kurtzman, such craftspeople who graduate to the director’s chair often focus on their specialty to the exclusion of all else. Behemoth gasses on a lot about the evils of corporations poisoning the land and our children, which is a valid topic for a movie if overdone, but then Szewczyk festoons it with monsters and grotesques. Is this corporation literally run by devils and ghouls? Szewczyk and his co-writer Derrick Ligas don’t really connect the theme and the plot, and frankly there’s not enough plot to power a feature-length film. The denouement further makes Behemoth feel like an extended (and bad) Twilight Zone episode.

At times, Behemoth wants us to think all the grody stuff is just in Joshua’s head. That suspicion intensifies when Joshua pops some of his friend’s MDA instead of painkillers (oh yeah, Joshua spends most of the movie contending with a bullet wound in his hip, despite which he manages to stand up and not bleed out) and hallucinates all kinds of gnarly phantasms — or are they hallucinations? There’s a story buried in there somewhere, but a lot more of it needed to be dug out of the soil. As it is, Szewczyk unearthed whatever bits would justify playing in his digital-monster sandbox but only got crumbs of anything that would have made the story meaningful, resonant.

Some might be willing to go along with it just for the horned boogeymen, but a more concerning problem with Behemoth is that Peter Szewczyk is good at what he usually does, but simply isn’t cut out to direct. His actors listlessly chew the scenery when they’re not tossing off dead-zone line readings, and he has no sense of pace, so the movie feels much longer than it is. We’re often not sure what’s important and what isn’t (does the same actor play a newscaster and a motel manager? why? are they involved in the action or just a daydream?), and Szewczyk doesn’t seem to know, either.

The narrative just grinds on unpleasantly but artlessly — except for those computer-generated nasties. They deserve to be in a better film, one that doesn’t rely so heavily on them to work, and then doesn’t work anyway.

link directly to this review at https://www.efilmcritic.com/review.php?movie=34857&reviewer=416
originally posted: 09/18/21 07:43:12
[printer] printer-friendly format  

IF YOU'VE SEEN THIS FILM, RATE IT!
Note: Duplicate, 'planted,' or other obviously improper comments
will be deleted at our discretion. So don't bother posting 'em. Thanks!
Your Name:
Your Comments:
Your Location: (state/province/country)
Your Rating:


Discuss this movie in our forum

USA
  27-Aug-2021 (NR)

UK
  N/A

Australia
  N/A




Home Reviews  Articles  Release Dates Coming Soon  DVD  Top 20s Criticwatch  Search
Public Forums  Festival Coverage  Contests About 
eFilmCritic.com: Australia's Largest Movie Review Database.
Privacy Policy | HBS Inc. | |   

All data and site design copyright 1997-2017, HBS Entertainment, Inc.
Search for
reviews features movie title writer/director/cast