Des citoyens disparaissent les uns après les autres et leurs restes atrocement mutilés sont découverts peu après. L'arrivée d'un savant atomiste contribue à laisser croire que des extraterre... Tout lireDes citoyens disparaissent les uns après les autres et leurs restes atrocement mutilés sont découverts peu après. L'arrivée d'un savant atomiste contribue à laisser croire que des extraterrestres ont débarqué..Des citoyens disparaissent les uns après les autres et leurs restes atrocement mutilés sont découverts peu après. L'arrivée d'un savant atomiste contribue à laisser croire que des extraterrestres ont débarqué..
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 6 nominations au total
- Creature #3
- (as Leighe Brinkman)
Avis à la une
To dispute its absolute originality, TOP OF THE FOOD CHAIN shares a craziness of concept with 1984's BIG MEAT EATER, another micro-budget Canuck item (something in our water?) Rather than the conventional smug mockery of 50s drive-in sci-fi (oh look at Woody and the giant tit, how droll and cunning) these films strive to be, in look and feel, a modern day continuation of a time-locked genre that had logic and principles of its very own, though so free form that comic expression can flourish on a wide open range. While MEAT EATER, a delightful though haphazardly directed mess, was marginally a musical remake of PLAN 9, FOOD CHAIN takes its initial premise from from the interesting ASTOUNDING SHE MONSTER, complete with the strangely lit alien sexpot in the woods and main characters that are somewhat similar to the ones here. It's clear that the actors are in improvisation heaven but Paizs, in the tradition of Altman and Morrissey at their best, never lets them stray from his story telling vision. And what a vision: this is like MARAT/SADE! It's a 50s monster melodrama concieved, produced and acted out by mental patients!
Not a single character in this movie even attempts to approximate socially acceptable behavior, nor does anyone, even on a good guy/villain level, ever question one another's unusualness. Sexual obsessions spring up all over the place but are pointedly ignored in terms of detail, as if Paizs is taking on the role of gossippy spinster aunt who knows where to cut things off for decency's sake. It doesn't stop there. He interrupts things, though briefly enough to maintain the flow, to point out things of visual interest, like a hideously familiar faux-wicker basket full of saltines, that you just know you once saw in your own childhood home. He actually has the gall to reuse enjoyed props within the same sequence: a bright pink hugely finned bulgemobile ('59 Pontiac?) appears in the background during both takes on an opposite-angled dialogue. Even the FX showcase at the grand climax, suitably tacky looking by today's standards, he undermines with swift dispatch that makes it clear that the characters are far more interested in each other's activities of the moment than any impending doom.
It's as B as a movie can be, it's cheesie and it's awesome.
If you liked this, I'd check out Psycho Beach Party and Jesus Christ Vampire Hunter.
Le saviez-vous
- AnecdotesThe trophy fish Sandy takes off the wall to defend herself is a coelocanth. Coelocanths were thought to be extinct until one was caught in the 1930s.
- Citations
Dr. Karel Lamonte, Atomic Scientist: We found the remains of a dead human corpse, deceased, in the hilly, lumpy, bumpy part of town outside of town.
- ConnexionsReferenced in Adjust Your Tracking: The Untold Story of the VHS Collector (2013)