Stevecorp Don't listen to the negative reviews

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Rosie Searle It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

Staci Frederick Blistering performances.

O2D Roger Corman is the most consistent person on Earth.He has consistently churned out garbage for over half a century and shows no signs of stopping anytime soon. With only 1 hour to work with,Corman still manages to kill half the time with lots of nothing.I guess that's his trademark.His use of the two person tight shot makes having a budget completely unnecessary.Why have a story or set when you can just have tight shots of nothing? So the "story" is about a woman who goes on vacation to Mexico,alone.She quickly befriends a fatherless child(not weird at all) and then meets a guy with a submarine.The submarine is human powered,very slow,can not move in a straight line and is not air tight(you need scuba gear to ride in this thing).The entire concept of the thing makes no sense yet we are treated to 15 minutes of it traveling underwater. All the Mexicans have eastern European accents while still managing to throw in 1 Spanish word per sentence.Did I mention the woman faints every 5 minutes? She's obsessed with finding this mysterious monster yet every time she goes looking she gets terrified and runs,when she doesn't faint. One time she sees an octopus and says she thought it was the monster.When we finally see the monster,IT LOOKS LIKE AN OCTOPUS! Then the Corman genius kicks in and we only see the monster out of focus while the woman moves in fast motion. Never watch this or any other Roger Corman movie.

gavin6942 Julie Blair (Anne Kimbell) is an American vacationing at a sea-side village in Mexico. She hears stories about a man-eating creature dwelling in the cove.This film is a low budget science fiction film in every sense of the term low budget. Director Wyott Ordung (1922–2005) doubled as an actor (playing Pablo), and this was his first of only two times in the director's chair. In fact, his only real experience before this was a writer on another low budget flick, "Robot Monster".Most notable is the producing credit of Roger Corman, who took a modest $30,000 budget and earned more than ten times that back at the box office. No small feat, especially from someone just starting out in the business. This also marks a collaboration between Corman and cinematographer Floyd Crosby; Crosby had been making films over twenty years, but would be possibly best known later on for shooting Corman's finest films.This was also the debut of Jonathan Haze, a gas station attendant that filled the small role of Joe. He must have done something right, because Corman hired him for numerous productions over the next decade, including the starring role of Seymour in "Little Shop of Horrors".As for the film itself, there are things to like and things that could have been improved. The monster is actually rather cool looking, and when revealed is no disappointment. To use him sparingly, they also have a shark and an octopus, which may cause a few people to jump. The film is also rather short -- only 64 minutes -- so there is little time for the pace to slow down. Variety praised the film, calling it an "oddity" but "well-done", noting that "Corman's production supervision has packed the footage with commercial values without going overboard."The negatives are few, but worth pointing out. The forced romance was a bad idea, though probably almost necessary for a film of its day. This is somewhat compensated for by having the main character be a heroine rather than a hero -- not the strongest female lead, but a female lead nonetheless. The biggest issue is the sound. Clearly they had not invested in a boom mike, because scenes were either overdubbed, or the conversations were drowned out by the ocean waves...While not the best film of 1954, it has its historical merits and is fun in its own way. For a low budget film now sixty years old, I think it holds up respectably well.

r-c-s this is undoubtedly a B movie. 1954 was its year ( the same year as the first Godzilla ), so we should adjust our expectations accordingly. All in all, this movie is more closely related to 1930's movies than 1950's. Stories about some "sea devil" killing people fascinate an American woman vacationing in Mexico. She's beyond the typical female specimen of the 1950's, and she takes matters into her own hands, trying to locate this "monster", supposedly behind a few mysterious deaths. She joins forces with 2 marine biologists, one of whom (her supposed beau, but that gets nearly no screen time ) rides a man powered submarine i clearly remember i saw in print in some old Disney comics: same layout, same purpose. There is (Corman style) a subplot involving 2 villagers, one subduing the other into killing the young lady in an attempt to appease pre-colombian deities or whatever. Producer Corman perhaps (mask of red death) establishes a parallel between the unknown as source of evil and human distress and phobias.Again there is some nice submarine footage documentary style.Overall a nice movie visibly plagued by low budget. It still retains some personality (EG it still ranks higher and succeeds better than say "the mysterians"). Acting isn't much of anything, and actors have more "bit parts" or "uncredited" roles in their career than else. SFX are negligible, if any.

Lee De Cola I rented this film because the composer was a good friend of my musician father Felix De Cola (who may have played the piano on the score!). It's a silly movie with an absurd monster, but there's a scene around minute 40 where the heroine encounters a shark that had me quite startled. The fish appears to be 2 meters long and its open mouth comes at the camera and then at the girl in several shots. Even if she was an experienced diver, this must have been an unsettling experience. And no, it's almost certainly not an animatronic.This was a time when the psychotechnology of horror films was developing at its fastest, so you can see how the director (clumsily) tries to manipulate our fears. Crude films often teach us more than well-made ones.As for the music, there's a distant similarity between Brummer's music and John Williams' Jaws theme, but I doubt the link is real.