‘Mermaid’ Review: Florida Man Attacks Locals, Claims to ‘Save’ Aquatic Creature in Mopey Monster Movie

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While it’s not directly based on recent events, Tyler Cornack’s “Mermaid” appears to draw inspiration from such happenings – notably, the peculiar “Florida Man” news stories that have gained popularity as an intriguing internet phenomenon.

The movie, set against a backdrop of a “Jaws” spoof involving a monstrous underwater killing spree, briefly stops to display a title card declaring it as an ode to Florida. However, instead of merely providing visual spectacle, the film’s chaotic events – such as a mafia running a strip club and a man-eating sea creature – aim for something deeper. The director’s approach, as seen in “Sharknado 3,” is characterized by an unexpected poignancy, delving into the melancholy of its slacker protagonist. This results in a heavy, self-inflicted atmosphere of resentment that appears discordant with the film’s genre-loving climax.

Even though the film “Mermaid” swiftly introduces us to Doug (Johnny Pemberton), it might take a moment for you to fully understand his situation. It’s likely that Doug would also need some time to grasp his predicament himself. In the initial scene, we see him being let go from his nightclub job due to the excessive fish tank he was maintaining, which the owner deemed a poor investment. At first glance, Doug appears to accept his dismissal lethargically. However, this apathy is actually a side effect of his Percocet addiction, which has strained his relationships with his young daughter (Devyn McDowell) and former partner (Nancy McCrumb).

The initial scene of this production adopts a leisurely rhythm that pervades throughout “Mermaid”, persisting as it introduces its headlining character. As we encounter a toothy sea-dweller transformed into a woman (portrayed by Avery Potemri, an accomplished movement artist), who exhibits striking special effects, Doug captures and accommodates the creature in his bathroom, finding renewed motivation from this unexpected experience.

The tale unfolds as an unusual one-sided love story, deviating from the tender, romantic narratives often portrayed in films like “The Shape of Water”. Unlike the enchanting mermaids of fairy tales, this mermaid in “Mermaid” is far from beautiful; she’s a grotesque, scaly creature that expels ink-like bile and emits throaty screams when her tranquilizers wear off. Doug’s feelings towards her are genuine, but they are not socially acceptable. Cornack doesn’t see the relationship as significant for anything beyond its impact on his protagonist’s pitiful existence. Interestingly, the initial part of “Mermaid” isn’t built around suspense, despite featuring a central monstrous figure. Instead, most scenes take place during daylight, offering a clear view of the creature in all its hideousness.

Cornack’s style in filmmaking may seem raw, yet he’s shown himself to be a director deserving of notice. His initial full-length production, “Butt Boy,” was deemed the best film of 2020 by John Waters. This comedy revolves around a father transforming into a serial killer who absorbs victims through his rectum, offering a less serious theme that generated dry humor and small, unexpected twists. However, while “Mermaid” shares similar intentions, the presentation doesn’t possess enough shock value to leave a lasting impression.

As a fan, I can’t help but feel that Doug is a bit too pitiful to hold the main spotlight effectively. Pemberton, however, demonstrates some impressive comic timing and his acting exudes a commendable patience. The play, “Mermaid,” seems to unfold like the tale of a man slowly waking up from a long sleep. Yet, the character’s eventual actions lead to brutal revenge, which feels like a predictable submission to the well-worn tropes of pulp storytelling.

The third feature of director Cornack boasts a talented ensemble of veteran actors, many of whom have joined his team. It’s noteworthy that Tom Arnold, a well-known figure in the industry, is cast for an amusing cameo role as a character who meets an untimely end in the movie’s opening scene. Robert Patrick and Kevin Dunn deliver captivating performances as monotonous antagonists, portraying wealthy criminals who own boats but seem to be tired of their success. Lastly, Kevin Nealon shines brightly and is remarkably underutilized in his role as the charming new love interest for Doug’s ex-girlfriend, a character who serves as both a wealthy and equally dimwitted counterpart to the film’s protagonist.

In Doug’s storyline, it feels like an addition rather than a natural progression, but it’s the secondary characters that truly capture Cornack’s vivid depiction of his home state: a surreal landscape drifting on a rhythmic blend of yacht rock and dance beats. The mermaid is intended to disrupt this environment and unsettle its residents, however, at times, the film struggles when structuring a climax around this decorative creature, causing the more poignant Florida backdrops to recede from sight.

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2025-03-19 00:17