Super sweet sixteen full movie movie#

It grows in size throughout the course of the movie and evolves rapidly, all the while feeding of the hormones drawn from the human hypothalamus. The Kothoga is a mythical chimera, a mixture of lizard, insect, and one more aspect that I wonвЂ™t spoil for those who have not yet seen the film.

Of course, the real star of any creature feature is the monster itself, and The Relic has a great one. Matilda Zwiezic (Audra Lindley), who proves in her brief scene the old adage that there are no small parts and delivers one of the most memorable performances in the entire film. One of my favorite ancillary characters is the coroner Dr. Even the only briefly seen John Whitney ( Lewis Van Bergen) is a thoroughly drawn character that gives weight to certain scenes of the film. It would be a stretch to call them complicated or three-dimensional characters, but they are more than mere cardboard cutouts set up to be killed off. Because they are generally well written and played by such skilled performers, we as an audience feel the stakes of the film far more. Frock, and Clayton Rohner as DвЂ™AgostaвЂ™s partner Detective Hollingsworth.Д®very one of these characters as well as several others are given their moments to shine.

Cuthbert, the director of The Field Museum of Natural History where the bulk of the movie takes place, James Whitmore as its curator Dr. Among the most memorable are Linda Hunt as Dr. The Relic is ultimately an ensemble film, however, and spends a great deal of time with several characters. Unfortunately, addiction and other personal demons derailed his career just as it could have truly taken off. Sizemore in particular was a very reliable character actor throughout the decade. Though both of these actors regularly played supporting roles throughout the 90вЂ™s, The Relic is a rare leading role on each of their resumes. The entire film is bolstered by a very strong cast, led by Tom Sizemore as Lieutenant Vincent DвЂ™Agosta and Penelope Ann Miller as evolutionary biologist Dr. These are all staples of the golden age of science fiction and The Relic brings them into the 90вЂ™s with interesting new variations and style. It has an exotic expedition, a hard-boiled detective, a beautiful scientist, a wheelchair bound older sage, a creature based in myth, evolution, and pseudo-science, and plenty of dark passages and corridors for it to hide out in. It is not a cheap or shoddy film by any means, but its plot could have been drawn straight from the pulps of the 1950вЂ™s. I donвЂ™t mean that as a negative in any sense. The film is essentially a cross between the gritty detective thrillers like Seven popular at the time, and a classic B-monster movie. But The Relic is one of the few creature features of the mid 90s released by a major studio that feels like a response (or a cash grab depending on how cynical you are) to the Jurassic Park phenomenon. Most of what was made at this time were extremely low budget or direct to video films like Tammy and the T-Rex and the Roger Corman produced Carnosaur films. And letвЂ™s face it, nothing was going to be able to hold a candle to SpielbergвЂ™s epic. Granted, the main reason for this is most likely financial as the practical and computer effects needed to create such films were prohibitively expensive at the time or at least in order to be done well. There are exceptions to this of course вЂ“ Anaconda, Deep Rising, and Lake Placid come to mind вЂ“ but considering the cultural phenomenon that was Jurassic Park, itвЂ™s still relatively few. Steven SpielbergвЂ™s film was such a massive success in 1993 that itвЂ™s something of a wonder that there werenвЂ™t more dinosaur and giant monster movies released throughout the middle of the decade. A great example of this is 1997вЂ™s The Relic, one of the great unsung creature features to come along in the wake of Jurassic Park. That said, it can also be fertile ground for niche science fiction and horror films that are willing to take the big swings. It tends to be a season of вЂњlow browвЂќ comedies, middling dramas, and tepid romances. To be fair, there is at least some truth in this. If a film isnвЂ™t Oscar bait or likely to be a summer blockbuster, January is where theyвЂ™re dropped. January is so often seen as a dumping ground for films that studios have little faith in, either for any awards consideration or box office success.