An eclectic crew of undersea miners has only three days left before their six-month mining operation for Tri-Oceanic Corp. is complete. During a routine maintenance run, Sixpack (Daniel Stern), falls off a sea ridge and stumbles upon a downed Russian ship, from which he pilfers a safe. When Sixpack returns to the crew’s underwater habitat, Dr. Glen “Doc” Thompson (Richard Crenna) translates the ship’s name – Leviathan – as well as a video log left by the captain, wherein he talks about a strange illness afflicting his crew. As everyone pores over the contents of the safe, Sixpack quietly slips a flask of vodka found inside into his pocket. Later that night, he shares a drink of vodka with Bowman (Lisa Eilbacher) in their quarters. The next day Sixpack is feeling under the weather, so he goes to see Doc, who discovers a rash on his skin. Not long after the exam, Sixpack lies dead on his hospital bed. Well, dead-ish. Whatever was in that vodka has started to … change his body. Bowman begins feeling the effects, too, and she eventually (unwittingly) winds up in the room with Sixpack’s body, where the two begin to grotesquely merge.
Doc and Beck (Peter Weller) want to avoid alarming the crew, so they wrap “both” bodies up in a bag and get the rest of the group to help flush it out of the station. Well, that plan doesn’t work so well when the bag starts moving and DeJesus (Michael Carmine) opens it up thinking someone is alive, at which point the newly-formed creature takes a swipe at Cobb (Hector Elizondo) and claws his chest pretty good. Everyone is able to force the creature into the “swamp”, a platform used to lower the workers to the ocean floor, but not before a piece of it wriggles out and remains on board. It soon begins to mutate into a lamprey-like creature, attacking crew members and assimilating their bodies, turning into a hulking, menacing beast. The few crew members who are left alive have to figure out a way to either kill it or escape, but with Tri-Oceanic’s CEO Martin (Meg Foster) unable to extract them things are looking dire.
Leviathan works, but the obvious influence of both Alien and The Thing are impossible to ignore; the film is wholly derivative of both, right down to Beck’s final line to the creature echoing both Kurt Russell from Carpenter’s film and Roy Scheider in Jaws (1975). The station’s design is awfully reminiscent of the Nostromo, the crew here is just as varied and distinct as those found in Scott’s film, and the idea of an ever-evolving, regenerative creature screams of Bottin’s work. But there are certainly worse projects to be cribbing from. About the only elements of this film that feel unique are the underwater setting and the concept behind how the creature came to be, neither of which are all that novel. Still, the film succeeds because of the sheer amount of talent involved; and because David Peoples and Jeb Stuart’s script maintains a good pace with commendable intrigue and action to prevent ennui from setting in. Other than some clumsy exposition, where characters make incredibly educated guesses as to the creature’s origins that magically fit together, there isn’t too much to roll your eyes at. These are smart, professional people who make mostly smart, professional decisions when faced with a lumbering beast consuming co-workers.
The film world lost a GIANT when Stan Winston passed in 2008. Creature design hasn’t been the same since. Now, we’re stuck with guys like Neville Page who, while very talented, tends to create creatures that have little variance from film to film. Everything looks like it comes from the same taxonomy. To list all of Winston’s achievements would be (and should be) needless to genre fans; his work is inimitable and easy to spot. The creature design for Leviathan, however, could probably be considered one of his lesser efforts. Both Tom Woodruff, Jr. and Alec Gillis discuss the difficulties of putting the final form together in the supplements on this disc; there were many. Many of the film’s “smaller” effects actually look quite good and convincing, and by peppering them in at short intervals throughout the film it excuses the fact that the main beast is only glimpsed in shadow until the very end of the picture. Once it’s seen, the result looks a bit like, as Ernie Hudson puts it in his interview, “a big chicken monster”. If you look at production shots, it actually doesn’t look all that bad, but the way it’s shot on film doesn’t do the design much justice. Admittedly, though, it does look cobbled together and not entirely congruent, which may or may not have been intentional.
Leviathan is a fun late ‘80s thriller, brimming with talent and bolstered by a strong score, courtesy of maestro Jerry Goldsmith, who weaves some atypical sounds into his representative work. So what if the film is derivative of other, greater works? Plenty of films can be seen as riffing on old ideas; it’s what Hollywood does. At least this film had the decency to pull from two of the most lauded genre pictures of all-time.
Scream Factory has been getting some flack online about their video transfers lately, some of which may be justifiable. Picture quality should always be of paramount importance, not that I’m implying they don’t care about image quality. Sometimes you just can’t do more with what you’re given, especially on a budget. Anyway, throw all that talk out the window because Leviathan is one of their best-looking efforts this year. The 2.35:1 1080p image is stellar, obviously sourced from a recently-mastered version of the film. MGM tends to do well on their horror titles when HD masters are made. The print used here is in great shape, very clean, with nary a hint of dirt of white flecks. Definition in the station interiors is superb, with fine details appearing especially strong. You can count the individual beads of sweat perspiring on DeJesus’ face, or count the crags on Richard Crenna’s. Cinematographer Alex Thomson makes some smart lighting decisions here, allowing for strong clarity and a good sense of depth in these close quarters. Colors are accurate and black levels hold strong. There’s a slight softness to the edges of the picture, which is simply a byproduct of shooting with anamorphic lenses. The only weakness in the picture comes during the “underwater” scenes, which weren’t actually underwater but shot on a soundstage at Cinecitta Studios in Italy. The set was bathed in oceanic hues, cameras were overcranked to give the sense of slow movement in water, and particles were fanned into the air to give the illusion of sediment on the sea floor. I don’t think it would surprise anyone to know this wasn’t shot underwater. The image often looks murky and soft during these shots, which only occur sporadically during the film. These are sources issues, though, and aren’t because of a bad transfer. Not a big deal and the majority of the film looks so good most won’t even care.
The disc offers the choice of an English DTS-HD MA surround sound track with either a remixed 5.1 or original 2.0 stereo option. The stereo track is a little tighter and more focused, but the expanded 5.1 track has better range and sounds fuller. Your choice will simply come down to preference. Goldsmith’s score isn’t his best work by any stretch, but the man was a master of mood setting and knowing how to manipulate emotions through music. He also loved using atypical sounds and styles, such as the bits of whales singing during the opening credits. Dialogue here is clean, centered and balanced within the mix. Fidelity is strong. The LFE track provides some deep, rumbling bass to convey the fury of the sea. Subtitles are available in English.
Leviathan – Monster Melting Pot features a handful of the film’s cast & crew (minus Weller) interviewed about their time on the set. Mention is made of all the underwater films of 1989, and how this one was done on a very short schedule. Tom Woodruff, Jr. notes that this was, by far, the worst suit he’s ever had to wear on screen, since it forced him to stand in a hunched over position for hours at a time. This is a little long, but there’s good info to be heard. Dissecting Cobb with Hector Elizondo is an interview with the actor, who has a vivid memory and an endless supply of humor, talking candidly about his time on the movie. Surviving Leviathan with Ernie Hudson is an ironically titled interview with Hudson, who is almost always second banana in his movies. He loved shooting the film in Rome, which meant he could bring his family on a great vacation. But he did not like all the swimming. Or the monster’s design. And he really hated the ending. The film’s theatrical trailer, along with a handful of other Scream Factory title trailers, closes out the supplements.
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