In the endless flood of films that contain supernatural evil, grandiose comic villains, or crazy batons that might as well be supernatural, "Crawl" is a stubborn force of terror from this earth, dedicated to the audience on Saturday night as weakly exotic. The movie, a shrunken and damp thriller, is about a deadly attack by alligators – big, long, fidgety ones that appear during a hurricane of category five in southwest Florida. Director Alexandre Aja ("High Tension") brings the animals to life through a combination of digital images, true-to-scale models and (perhaps) real alligators a credible picture of the naturally-born boiling fear. These alligators look just like real alligators like the current Godzilla, not like a rubbery special effect, but like a real … er, Godzilla.
Over the decades, there have been a handful of cheap fearful strips of alligators, notably "Alligator," a 1979 B-movie written by John Sayles in the days before the indie revolution in which a horror film written by John Sayles contained the mystique of the pulp touched by a poet. The difference between then and now is that in the old days, when you were shooting a catastrophe about people who wanted to escape the wrath of nature, people, sketches as sketchy as they were, were still in the foreground , (For this reason, "Alligator" could be referred to in terms of its script .)
Even in a back-to-basics movie like this one, it's the logistics that comes first : The chic, wet light of the pea soup, the swirling CGI storm, the way the camera invades every corner of the film's claustrophobic scene – an ultra-chunky, flooded basement where Haley Keller (Kaya Scoledario), A Competitive Swimmer The University of Florida and her estranged father Dave (Barry Pepper) are trying to escape a pair of 20-foot scaly reptile predators that came through the drainpipe and were able to swim at eye level right in front of the camera. "Crawl" has no claim and not very much reach; It's "Jaws" in an old dark house.
When Haley shows up for the first time to save her father (she does not know that there are alligators there – she just thinks he's caught in a storm), she finds him with a torn leg and a bite out of his Shoulder, in a corner of the cellar, bounded by several large horizontal pipes from the rest of the cellar. She'll be there with him soon, and her safest option would be to just stay there. But then there would be no movie. So, not only does Haley have to go out and fetch the cell phone lying there, she must try ringing 911 before going back to safety (though that's only half a meter away).
Nevertheless, it would be foolish to take a movie like "Crawl" on the basis of plausibility; The dirty, observable "Funhouse" half monotone of the movie is reason enough. It is true that there are moments when you squirm in your seat and have the prospect of being eaten alive. However, given the small number of main characters, there are too many scenes in which Haley, played by Kaya Scoledario with a wide-eyed pull, indicating that Jessica Harper is crossed with Emma Stone, floats out into the dark, just behind the pines of Death and sometimes one of its limbs, which has temporarily caught in the mouth of an alligator, but always manage to escape with an intact body and mind.
At one point, there are several unsympathetic characters in the shop across the street (everything is interconnected) landscape because of the torrential tide), and they might as well wear signs bearing the inscription "Fresh Meat". This also applies if a sympathetic character emerges. (He is torn apart by about five alligators.) But "crawl," you must understand, is really dedicated to the therapeutic potential of the fight against alligators to heal the relationship between a divorced father and the daughter he trained at swimming events , They discover their bond again as the water level rises and push them into the house and finally onto the roof.
We seem to be in the middle of a "pine" redux moment. Of course, this movie never left. But last summer, "The Meg" showed that even a shamelessly verbal and not very exciting re-compilation of "Jaws" tricks can convince the audience that it has enough time. Next month we will receive the "47 Meters Down". Continued "Uncaged". "Crawl" continues this trend like a nun with teeth. At the box office, it's likely to offer nostalgia worth about a weekend, and Bill Haley & His Comets' brisk version of "See you later, Alligator" may convince audiences. A movie that's hokey-primitive in its appeal , must be a joke in which they participate. But no, there is no joke, at least not one who leaves bite marks.