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God bless you, Steve Miner, and all the other unsung Hollywood heroes. The work, in fact, of a man equally at home in Camp Crystal Lake or Dawson’s Creek. Why am I telling you all this? Because Lake Placid is nothing if not the work of a reliable, hardworking journeyman: occasionally inspired, occasionally flat, always fun, never dull.
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Once again, teen TV beckons: this time its Dawson’s Creek, at least until deliverance arrives in the form of the severely underrated franchise instalment Halloween: H20, the success of which leads directly to this superbly cast, solidly entertaining giant-croc tale.
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More fruitful years follow, until Miner, again, makes a major misstep: the US remake of French comedy hit Mon Père ce héros, in which Gérard Depardieu lumbers threateningly after his nubile daughter through a series of lurid tropical locations. Miner spends the rest of the '80s wandering in the wilderness of The Wonder Years, before bouncing back with daft timeslip romp Warlock. Having brought cheap thrills to the masses with Friday 13th Parts 2 and 3, and much-loved skeletons-in-the-closet charmer House, he decides to try his hand at a little social comedy with notorious race-relations misfire Soul Man. Let us, for a moment, pause to examine the career of Steve Miner. Disney's graphic mash-up sequel, Pete’s Dragon Slayer, was pulled after test screenings left young audiences in states of extreme distress. Richardson steals the film despite his early immolation, but the Industrial Light & Magic special effects come a close second and, nearly thirty years on, have an ethereal charm that CGI-drenched descendants like Beowulf can't match. Not an ideal arrangement, but one that worked well enough until Sir Ralph Richardson’s permanently flummoxed wizard turns have-a-go pensioner and sets up a nice revenge saga for his young apprentice. In a world, the trailer might have intoned, where the dung hovel is the standard unit of social housing, a boy on the brink of manhood is all that stands between a great fire-breathing beast and a rather fey cadre of aristocrats bent on offering up their virgins to the monster. Not to be confused with Dragonheart, Dragonlance or Dragon: The Bruce Lee Storyīefore Peter Jackson gave Sword and Sorcery (for it is they) an irresistibly sexy sheen, this 1981 effort took a proudly cod-medieval stomp through damsel/dragon territory, becoming the lodestone of dark-tinged family fantasy.
Written by Tom Huddleston, Adam Lee Davies, Andy Kryza, Paul Fairclough & David Jenkins Here are the best monster movies of all time.
The result is a list of films that spans the modern (2018’s A Quiet Place) to the classic ( The Blob – 1958’s original, of course).
Instead, we opted for all the killer rabbits, killer plants, killer fish, killer clowns (‘We all float down here’), killer aliens and killer desserts. In our opinion, Zombie and vampire movies are out, mainly because both genres are so filled with so many choices that they warrant their own lists. In the end, while constructing this list we decided to keep things simple. And what about the characters from Disney Pixar’s Monsters, Inc? A monster Mike Wazowski might be, but monstrous he is not. Chris Pratt might suggest that the creatures created specifically for the Jurassic World movies constitute as monsters (he would be right).
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What makes a monster? If you were to ask Charlize Theron in 2003 while she was filming serial killer movie Monster, she may have said men who commit monstrous acts.