Chandler’s Trailers: “Humanoids From the Deep” (1980)


humanoidsfromthedeep1“Humanoids From the Deep” (1980)  If one were uncertain as to the gravity of the situation in the small fishing hamlet of Noyo, California one would need no further measurement than the overbearingly ominous music of James Horner which emphasizes, to the point of exhaustion, the menace inherent in every forest twig, ripple of water or drifting finger of morning mist. Though Horner’s muscular faux-Goldsmith scoring is unceasingly oppressive, the composer  provides the only genuine atmosphere to Barbara Peeters’ “Humanoids From the Deep”, a haphazard pastiche of B-movie SF tropes of irresponsible science run amok and more au courant thematic glances at environmentalism and racial disharmony, which manages to be simultaneously sanctimoniously preachy and exploitatively vulgar, but in neither regard entertaining nor competently wrought.

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About chandlerswainreviews

I've been a puppet, a pirate, a pauper, a poet, a pawn and a king, not necessarily in that order. My first major movie memory was being at the drive-in at about 1 1/2 yrs. old seeing "Sayonara" so I suppose an interest in film was inevitable. (For those scoring at home- good for you- I wasn't driving that evening, so no need to alert authorities.)Writer, critic and confessed spoiler of women, as I have a tendency to forget to put them back in the refrigerator. My apologies.
This entry was posted in Drive-In Movies, horror, movie reviews, Movies, music, Roger Corman, science fiction, women, writing and tagged , , . Bookmark the permalink.

1 Response to Chandler’s Trailers: “Humanoids From the Deep” (1980)

  1. ghostof82 says:

    James Horner was such a breath of fresh air in the 1980s. My favourite early score of his was Douglas Trumbull’s ill-fated Brainstorm. Horner had a way of elevating flawed pictures into something more, well, important, even if it was more self-important than GENUINELY important. Now that i think of it, Jerry Goldsmith himself had a knack for that (largely because, opposed to say, John Williams, Goldsmith found himself scoring far more duds than classics). The days of film composers being able to raise a poor film into something worthwhile are well gone, however: film music ain’t what it used to be.

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