Sci-fi/Fantasy

MOVIE & TV SERIES REVIEWS

By TOM SOTER
from VIDEO MAGAZINE, 1991-1996

THE SWARM
1978. Michael Caine, Katharine Ross, Richard Widmark, Richard Chamberlain, Olivia de Havilland, Fred MacMurray, Henry Fonda; dir. Irwin Allen. PG. 156 min. CLV. 3 sides. Warner.
This Irwin (Poseidon Adventure) Allen disaster flick contains more laughs than thrills, as cockney scientist Michael Caine tries to convince an all-star cast that African killer bees should be taken seriously ("Are you telling me," says cranky General Richard Widmark, "that bees killed the men here?"). Naturally, no one believes him, until a plane, a helicopter, a military base, a picnicking family, and Fred MacMurray are all covered in honey. The Swarm is a 1950s B-flick blown up to epic proportions, with plenty of dull action and cheapo special effects, lots of inept soap opera stuff, a pile of priceless bad sci-fi dialogue ("Cardipep might have eased their palpitations"), and a roster of big stars in small parts. The "take the money and run" prize, however, must go to Jose Ferrer, who appears just long enough to say, "Bees can't hurt me" – and then get blown up in a bee-induced nuclear blast. The buzzword, in his case, was cash.1992

THE CRAFT
This well-constructed but predictable horror tale, a parable of how a good girl can be led astray, tells the story of four teenage witches who battle peer cruelty with the powers of darkness. Early magic tricks are treats for the young witches (love spells, hair loss for enemies) but the spells turns lethal when the good girl in the bunch tries to retire. The movie is creepy at times – lots of snakes, rats, and cool special effects – but not particularly scary. Indeed: director Andrew Fleming has modeled much of The Craft on rock videos, with slow-motion camera work, arty editing, and interchangeable pop tunes (there’s even an “executive music consultant” listed in the opening credits). In the end, the film is less a tale of terror than a three-card monte game, with cynical producers hoping to cast a spell over angst-ridden teens, angry at their peers and parents but unable to fight back. Witches’ brew, anyone? (Columbia/Tri-Star; 109 min, VHS) September 1996

INDEPENDENCE DAY
Independence Day was this summer’s sci-fi blockbuster stew of the month: mix in a pinch of X-Files, a smattering of Star Wars, a dollop of E.T. Never mind that the solution comes directly from War of the Worlds, nor that the alien invasion plot seems to have been stitched together by an executive “What’ll get us the largest audience?” committee. The concoction is a roller coaster ride of brilliant special effects, tired plotting, and cliches passing for characters: the WASP president who finds courage at the crucial moment; the sassy black pilot who saves the day; the drunken redneck who redeems himself by making the ultimate sacrifice; the brilliant but bitter Jewish scientist who hits upon the ultimate weapon by listening to the rantings of his kvetching dad. (There are the less-than-noble stereotypes, too: Is it a sign of the times that the one openly gay character is killed, while the strong career woman dies in action?) Rousing is the word most often used to describe Independence Day, but I find it dispiriting that so much time, talent, and energy could be applied to something so empty. September 1996