As someone who grew up in the 80s and 90s, devouring every FX-heavy creature feature that graced our TV screens, I must admit that “The Invisible Raptor” tapped into a nostalgic vein for me. However, I can’t help but feel that the filmmakers could have done more with their concept. The humor, while occasionally amusing, often felt like it was scraping the bottom of the barrel.
Individuals who spent their childhood years watching action-packed comedic creature movies from the ’80s and ’90s might find amusement in the nostalgic jabs taken at these films in “The Invisible Raptor”. However, those who are not fond of an excessive amount of bathroom humor may find the jokes scarce in this long, unoriginal monster parody. The indie film by director Mike Hermosa is well-made, but the lackluster storyline presented by Mike Capes and Johnny Wickham’s screenplay might have been more effective if it were condensed to the length of a “Funny or Die” sketch. Following its run at various genre festivals, it will be released by Well Go USA on limited screens and digital platforms starting December 6.
In the secure lab at Tyler Corporation, there’s a genetically engineered velociraptor, kept hidden and mistrusted due to its top-secret origins as part of a shadowy “weaponization program.” This velociraptor possesses both brains and brawn, enough to outwit the technicians and break free from its confined cage. Unfortunately for Sean Astin’s character, this escape means his cameo ends in a violent manner. The velociraptor then trails Bobby Gilchrist, an unaware colleague, off the company grounds towards DinoWorld, a tacky nearby attraction. Despite learning that the last of its kind perished around 70 million years ago, the velociraptor’s temperament remains unchanged.
Dr. Grant Walker (formerly known as Capes), a once-respected paleontologist, now finds himself in a peculiar situation. Years ago, a fellow scientist stole and discredited his groundbreaking discovery, causing him to fall from grace. Today, he dons Indiana Jones-like attire, engages children with quirky activities like sniffing fossilized droppings, and dances the “Dino Rap” alongside Denny (David Shackelford), a theme park security guard in a green furry costume. An unexpected visit by his ex-girlfriend Amber (Caitlin McHugh Stamos) and her grade-school daughter adds an extra dose of embarrassment to this routine, as they join an outing at the same location.
After some mysterious disappearances of certain locations and large piles of waste left behind, these three adults find themselves in pursuit of the escaped creature. Local law enforcement, played by Richard Riehle and David Theune, dismiss their claim about a dinosaur hiding invisibly among us. A crucial ally in this adventure is Sandy Martin as Henrietta McClusky, a blunt-speaking chicken farmer.
The film skillfully manages both the comedic aspect of hiding characters’ faces and the gruesome scenes, as it reveals that this prehistoric creature resurrected, about the size of a station wagon, has a peculiar fondness for decapitating its human victims. The movie attempts to satirize the familiar themes found in films like “Jurassic Park” and “Gremlins,” a task that Romanian composer Mihai Ciolca executes effectively with his grand original score. However, the film mostly fails to deliver on this promise, often falling flat by relying too heavily on simple movie references (the story takes place in “Spielbergh County”) and an overly crude preoccupation with bathroom humor.
The movie includes some wacky jokes that hint at a zanier, “Airplane!”-esque style. However, the humor often stays on a level of crude slapstick, such as a gory scene with an ear sticking out being described as “eerie,” a neighbor named Karen who fits the stereotype, excessive references to excrement, and an overemphasis on a sidekick character who isn’t particularly funny. Despite some cast members having comedy experience (Wick has worked with Upright Citizens Brigade), the humor doesn’t exceed a subpar improv performance at a comedy club.
Nonetheless, it has a fairly slick surface that might’ve ably supported a higher grade of satire, even if budgetary limits are underlined by only one larger setpiece (a raptor attack on a suburban house dance party). Best in cast is Capes, who makes a comedic virtue of reacting with incredulous distaste to the goings-on around his character … though you might also consider that an all-too-valid reaction to the material he’s co-penned. And given the numerous times when lame riffing on juvenile yuks grinds the film’s gears to a halt, its nearly two-hour runtime feels awfully indulgent.
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2024-12-07 02:19