Lake Placid (1999)

I know it can't be true, but sometimes I feel like I'm the only person who loves Lake Placid. I never hear anyone talk about it. There are never any revival screenings showing anywhere. Most people I mention it to either haven't seen it or didn't like it. I suppose part of my warm, fuzzy feelings could stem from the fact that this was the last (and possibly only) film I saw with my now-deceased grandma. Not trying to get all heavy here, but I'm sure most can relate to a personal reflection elevating the quality of a film in their own mind. Me, my grandma, and my brother watched it during the Summer of 1999 in Hawaii, in a tiny, decaying movie theater on the island of Kauai. I don't recall how well my grandma liked it, but this was a woman who considered Rambo: First Blood Part II to be one of her favorite films of all-time, so a good bit of violence and humor was likely right up her alley. Regardless, I've been a fan since that day and I hope that in years to come it garners a bit more love. The only home video release currently available is a decade-old DVD that could look worlds better (although at least it is anamorphic) with a short featurette for a bonus feature. And it deserves better.

Lake Placid, despite what some may consider to be a ridiculous premise, managed to attract a wealth of talent to its cast & crew. The film was written by David E. Kelley, the guy responsible for Ally McBeal. I only caught a few bits of an episode here and there, but I do know it was generally lauded for its sharp writing and wit, both of which are on display here. Horror fans should know the film's director, Steve Miner. You know, the guy responsible for Friday the 13th Part 2 and 3-D, House, Warlock, and Halloween: H20. That pedigree alone would've generate interest from me on any project he was involved with at the time, although I can't say the same now since he hasn't done anything worth watching since this film. The cast features a small ensemble of actors who are adept at playing personalities that clash just as well as they can come together when required - Brendan Gleeson, Bill Pullman, Bridget Fonda, Oliver Platt, and Betty White. All dependable, seasoned actors who run wild with Kelley's acerbic, shrewd dialogue.

And let's not forget the film's biggest star: a 30-foot crocodile designed by the most magnificent man to get into creature design - Stan Winston. Oh, fuck, do I ever miss that guy. Are you a film fan who laments the continual homogenization of on-screen beasts? Blame cancer, because if it hadn't claimed Stan's life all too soon then we'd likely be enjoying his work to this day. We also wouldn't have to suffer through film after film featuring Neville Page's slightly modified designs. Seriously, if you've seen Cloverfield, Star Trek '09, Super 8, or Prometheus you know exactly what I'm talking about. He seems to specialize in amorphous blobs that have few defining features and are almost wholly forgettable as soon as the credits start rolling. Winston created creatures that have defined generations and will ultimately stand the test of time as the some of the best work FX can offer.

 
There has got to be good character interaction in a monster-running-amok film, otherwise it can only be as good as the FX scenes horror fans are waiting for.That's when you get a film like Alligator, starring Robert Forster. Now, don't get me wrong on this because I friggin' love that movie, but how much can you recall outside of the wedding massacre and that scene where the eponymous beast bursts up out of the sewer? Exactly. Other than Forster, I don't even remember who else is in the film. Kelley's script for Placid builds up the humor right from the start, with Gleeson's character exchanging barbs with a beaver tagger (they pay people do to that?). Then Fonda's fish-out-of-water female, Kelly Scott, is thrown into the mix to complain about the wilderness and shriek when moose heads go flying. Pullman's straight man ranger is here to provide logic and as manly a presence as he can muster. Then, finally, Oliver Platt crashes the party as a rich loudmouth with expensive toys and a devotion to his craft as a crocodile expert. He's also the most brash and sarcastic member of the cast, often belittling Gleeson with obtuse, caustic remarks that go over his head. Are these people we care about? To some degree, sure. But mainly they're just types, and that's perfectly fine because they each excel in that role enough to elevate it above a one-note character.

Is there gore? You betcha! Some dude gets half his body chewed off in the opening, along with decapitations, a severed toe, and a fucking badass Bear vs. Croc attack that made my girlfriend squeal with equal parts horror and delight. It isn't gory like some of Steve Miner's '80s horror films, but there's a healthy enough amount to remind people this is still a movie about a large apex predator that rips things to pieces before eating them. Nothing here is gratuitous, so any bloody bits that appear on-screen are earned and not there for the sake of grossing out the audience. Hell, when a guy's toe is found, chewed up on the lake shore, Gleeson says he remembers the man being "taller" when asked if it's the missing beaver tagger. There's enough gallows humor to keep things from getting too heavy, despite the ever-present threat of an ancient reptile eating everything and everyone in camp.

The big beast itself looks rightfully imposing. Winston not only gave this crocodile a fearsome scale, but it looks extremely lifelike. The film does still utilize CGI for moments when a lot of movement, such as during an attack, is required. The replicas that Winston and his team constructed are mainly used for shots of the crocodile floating on the water's surface, or those fleeting glimpses when a tail or a bit of underbelly are shown. The most impressive moments for Winston's work come when Platt's character (foolishly) lands his copter above his watery lair. There's an attack scene where a very large animatronic croc was employed, the results of which look pretty goddamn spectacular for a hulking construction of metal and electronics. It moves a lot like Bruce does in Jaws, and while that kind of effects work is considered dated by some, I happen to think it's at the pinnacle of what artists can achieve. Giving life to inanimate objects and making them scary is a tall order, one which Winston always nailed.

Lake Placid would be a crowd-pleaser if it got some love by receiving a revival screening. The cast nails the tone Kelley's script aimed for, and while it may be mostly devoid of scares (save for one nice surprise at the end) there's enough of a tense atmosphere to satisfy those looking for more than a creature comedy. I'd love to see it get the royal treatment on Blu-ray, but for now all we've got is an aging DVD. Of course, there are always streaming options but I tend to prefer a physical product for my movies. Many uninitiated viewers might be tempted to dismiss this film thanks to the recent sequels (three of them at last count!) that were all D.O.A. Don't, because while it might not be an unheralded classic yearning for a larger audience it's absolutely worth it for all of the reasons illustrated above.