Mary Poppins Returns
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All Critics (24)
| Top Critics (4)
| Fresh (16)
| Rotten (8)
| DVD (4)
Cohen's obviously having fun with the cheesy clay animation, and Michael Moriarty delivers an inspired, whacked-out performance as a small-time operater who tries to turn the monster into his own private bonanza, but the rest... is disengaged and sloppy.
We have no hesitation in awarding Oscars all round.
The only movie in which you may ever see a gnawed, bloody skeleton wearing a gold charm bracelet.
The scale of what Cohen achieved with his monster on a low budget remains impressive to this day.
"Q" has no idea what it is, and it shows with a question mark ending that left me giggling more than anything.
Cohen and his crew soak the picture in Big Apple atmosphere, and Carradine is disarmingly relaxed as the wisecracking detective. Yet it's Moriarty who really sparks the proceedings with his offbeat characterization.
While Q won't give anyone nightmares, there's a throwback charm to it that honors Japanese monster movies more authentically than an expensive Hollywood production ever could.
They don't make 'em like this anymore, and that's a shame. It's one of the best grindhouse-type pictures of the '80s.
...an inspired bit of madness from exploitation writer/director Larry Cohen...
Q works because Larry Cohen plays it pretty straight. Guerrilla filming on the streets of NYC helps create a sense of verisimilitude, and the characterisation is both unusual and strong.
Larry Cohen once again proves himself to be among the most creative, original, and intelligent American horror film directors in this bizarre masterwork.
A freewheeling homage to both King Kong and producer Samuel Z. Arkoff's 1950s creature features that's slyly infected with marrow-deep societal tensions.
Ray Harryhausen would be flattered with the stop-motion animation that adorns Quetzalcoatl, a prehistoric reptile who decapitates window-washers with a single munch. In the midst of it all is Jimmy Quinn (Michael Moriarty), a scurrilous low-life wheelman for criminals. It's as if Larry Cohen gestated on interjecting Ratso Rizzo from 'Midnight Cowboy' into a cartilage-laden creature-feature and against all odds, the raw, seedy B-plot of Jimmy Quinn is a stupendous switchback on archetypal horror-movie protagonists insofar as Quinn is a profiteering scoundrel who is flailing with reforming his felonious tendencies ("Maybe I can't make it outside the slammer."). Cohen is a Roger Corman-esque shlockmeister at heart and the titillating sight of a nude sunbather is juxtaposed with an ineptly shot scene of the droplets of the women's blood descending on pedestrians. Mostly due to budget, Cohen refrains from showing too much of the titular character and it extracts palpable suspense. Truthfully, 'Q - The Winged Serpent' is a wistfully scalene endeavor as it jostles back and forth between Moriarty's filching scheme and the occult angle with human sacrifices to appease the Aztec god Q. Nevertheless, the strain of self-effacing humor (Quinn states he never wants to "see eggs again" after witnessing Q's hatchling in his Chrysler Building lair) assists in digestion of the more disparate elements and it emerges as another unexpectedly witty character study with New York verisimilitude masquerading as a monster movie.
About an hour in, Morarty goes off the rails and Cohen gives up on plotting and good dialogue. But until then, it's one of the most unique genre movies ever, taking a totally different angle of storytelling, in the plot, in the kind of dialogue that carries us from scene to scene, in the shots of parts of New York City that create the whole, in the super high and low angles and aerial shots that are all different than we've seen before and all perfect for pulling the characterizations and the monster threat together.
The other half of what makes Q unique is the adventurous, voracious performance of Michael Moriarty. If Ratzo Rizzo was over-thought-out acting which Hoffman's second thoughts would have turned down a notch, here we get urban lowlife Jimmy Quinn and the opposite mistake. It's a method-like performance that is totally feeling driven, and might reach too much into Morarity's own reserves as an eccentric gone crazy. For a while, Quinn ( -- starts with "Q" -- ) is a amazing creation, and since he's more ordinary guy than crook, he has our empathy, and we like when he becomes a bit of a kook -- it's the common man's way of being Danny Kaye. But Quinn gets more selfish and annoying and resentful of how life has treated him, and empathy distills into pity, which is half chore. I started empathizing with the monster, who was too majestic to get shot down like Edward G. Robinson and had the whole city against him, even Jimmy Quinn.
Amusingly ridiculous monster b-movie in which a giant dragon goes round lopping off heads in New York City, and yet the NYPD finds it inexplicably difficult to find. The effects are ropey and the whole thing is just daft, but it's tongue-in-cheek enough to be able to carry it off. Just...
Not at all what I expected. The dragon portion of the film was the least interesting. Michael Moriarity's trippy, eccentric performance is the real reason to watch the film.
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