Razorback - Kampfkoloß der Hölle

The best thing about this Australian production is Russell Mulcahey's direction which gives this admittedly doofy material a veneer of class. (Although he does have a tendency to overuse the fog machine.)

What this film has going against it however is Gregory Harrision's ineffectual performance as the "hero". I remember him spending most of the film getting beaten up and/or falling down.

If this had focused on the "Moby Dick" aspect of the storyline, that has a grizzled old man searching the outback for the killer boar that killed his baby, it would have been a bit stronger in the storyline department. As it is now, it's OK.

I first saw this film over 20 years ago and it has remained a favourite of mine ever since.The plot is a little bizarre but the performances and cinematography are excellent in evoking a nightmare world of loss,desperation and pain.I wouldn't automatically bracket this film as a "Horror" at all but more a violent depiction of loss and the need for revenge.The grandfather obsessively searching for the Razorback is brilliant-pain,loss and terrifying determination.For me the only down is the ending which I felt strays into "schlock horror" territory too much.It could have been much better and more interesting in keeping with the rest of the film but,overall,it doesn't do the film too much harm.Quirky,bizarre,nightmarish and crazy-nice one.

One striking shot follows the next in this monster B-movie, and the overall tone of the visuals is beautiful, I think. And there is some thick, intense atmosphere. In those departments it's so stunning that the many flaws can't ruin the film. The acting is OK all in all but there are some moments that make you want to put your head through the next wall. The action scenes and especially the ones with the razorback, a huge boar, are more or less comprehensible in that you get the basic idea of what's going on but all the crucial scenes happen between cuts, so the editing is jumpy, kind of like a TV edit. The worst example is the movie's finale and the destruction of the monster, which after an exhaustingly loud, dark, monotonous battle between man and monster plot-wise also ends on a ridiculous and schmaltzy note and so the film leaves you with a bad aftertaste. But those visuals, man, those visuals... It's kinda like a more extreme 'Alien³'. Worse plot, more stunning visuals. What else could I do but consider this a new B-movie favorite?

Razorback is one of the best Australian horror/action movies ever made. The direction is dazzling, the cinematography is truly remarkable and the cast is brimming with quality actors. Mysteriously, no one seems to care.

There is no denying that Razorback's basic plot premise is pretty ridiculous. In short, a giant boar (a Razorback) goes on a killing spree in a small outback town. This is about as unlikely as a giant shark terrorising swimmers ("Jaws") or a wet Japanese woman climbing out of a television set ("The Ring"). My point is that even the most ludicrous storyline can be overcome by excellent film-making and this is certainly the case with Razorback.

Razorback was the film that launched Russell Mulcahy's film career after making a name for himself directing music video clips for AC/DC, Queen and Duran Duran. Razorback reflects the same sensibilities that Mulcahy brought to his best video clips: frenetic pacing, flashy camera angles and stylish visuals. These qualities are almost disorientating during the film's action and horror sequences, making them all the more suspenseful and eerie.

Mulcahy's dizzying direction combines brilliantly with Dean Semler's superb cinematography. Semler seems to thrive on barren landscapes and he captures the harsh beauty of the Australian outback magnificently. The scene with the wooden horse bobbing up and down on the salt flat is mesmerising, as is the entire sequence of Carl hallucinating in the desert. Put simply, Razorback is one of the most beautiful horror films not made by an Italian giallo master.

The cast is equally accomplished, offering a smorgasbord of excellent Australian character actors. Judy Morris ("Phar Lap") does well as Beth, not being hampered too greatly by an American accent. Bill Kerr ("Gallipoli") seems to have appeared in every second Australian movie. He has one of his best roles as Jake. Chris Haywood ("Muriel's Wedding") is also memorable as the ultra vile Benny. American import, Gregory Harrison, does respectably as Carl and the late Arkie Whiteley is sweet as Sarah, a woman who inexplicably monitors boar movements in the middle of nowhere.

The special effects still hold up reasonably well and the creature effects for the Razorback are great. I love the close-up of its eye in the finale. There is not much gore, but what the film lacks in blood, it more than makes up for with constant action. Razorback begins with an action sequence and simply never lets up. There are car chases, kangaroo shootings, beatings, home demolitions and that just covers the first half of the film. Razorback is not a particularly scary film, but it compensates for this with eerie atmospherics and relentless tension.

In addition to the fine film-making, I also enjoy Razorback for its political incorrectness. The outback characters are arch stereotypes and just about every animal in town comes to a violent end. Benny and Dicko even run over Jake's dog for fun, which would be unimaginable in a film made today. Furthermore, the irony of an animal rights activist being eaten by a giant boar was not lost on me.

Razorback is an excellent genre film that deserves much wider recognition. I wish the Australian film industry would make more films like this. If Russell Mulcahy's upcoming "Resident Evil" instalment does well, he should consider making the long overdue sequel to Razorback.

Judging by the external reviews, quite a few people appear to hate this film. I can see why, but I think they're coming at it from the wrong angle.

I see it as - intentionally - trying to send up the whole genre of vengeful animals horror flicks. In truth, neither sharks nor grizzlies, and certainly not razorback hogs, are smart enough to conceptualize, let alone carry out, acts of vengeance on humankind. The film simply takes the "rules" of this particular genre and applies them to a ludicrously unfit vehicle: a giant pig. And there are some pretty funny scenes, notably one where the monster eats a nasty watchdog that's chained to the side of a house; naturally, the corner of the house to which the chain is attached comes off and Joe Couch Potato is left sitting in a wall-less abode, staring quizzically as his television disappears into the outback.

Treat it as comedy, and the film makes a lot more sense.