When the original Gojira was released by Toho Studios back in 1954, the world saw the start of the kaiju genre with the popularity reaching around the globe and featuring imitations in most filmmaking grounds in one form or another. Towards the end of the 1960s, though, the waning interest in the films in their own country led many to mock and ridicule the output as juvenile and what would now be considered as camp. With the genre running in two lanes almost strictly with Toho Studios producing their own line of films and the imitations carrying along at the same time, the latest genre effort that pushes the boundaries between parody and homage comes in the form of Dan and David Treanor's “Uktena: The Horned Monstrosity.”
“Uktena: The Horned Monstrosity” review is part of the Submit Your Film Initiative
Following a series of strange incidents around the area, Doc Collins (Kyle Borthick), a scientist at a local geological research institute, suspects something's wrong when his findings don't match up with the stories told by Poncho Bravo (Marc Bilker), the local sheriff. When the strange incidents eventually force the two to turn to Jerome Greywolf (Jerry Roys), a Native American medicine man with knowledge about the wildlife in the area, he confirms their suspicions about the arrival of the ancient lizard Uktena. When the monster appears and lays waste to the city, nothing is able to stop the creature's wrath, forcing Col' Tuttle (Norman Hughes) into action with his defense forces but even they fail to do much damage against the mighty being. Down to their last resources, they're forced to look to unconventional means of finally quelling the vengeful creature.
“Uktena: The Horned Monstrosity” is quite a fun throwback effort. What really sets it up nicely is the opening introduction to the monster that plays perfectly as a twist on typical kaiju lore. The Native American legend retold involving the origin of the beast, appearing alongside the native animals and appearance of the land upon the formation of the planet and being a fearsome creature of such rage and destruction that it needed to be sealed into the ground to preserve those around him. By itself, this is a classic piece of typical folklore usually associated with the genre, which helps the immersion tremendously in getting to know the stories retold by the tribes in the area. However, there's also the added benefit of placing a localized flare to the production by tying the origin into Native American folklore. Starting life as a human before being wronged and merging with the spirits of the animal realm that produced his final dragon-like design is a means of unleashing death and destruction on the land. It all makes the film come together nicely with a fun story for the creature while playing into the genre overall.
To complete “Uktena's” throwback feel is the gloriously goofy special effects work. Employing a tried-and-tested combination of suitmation work against green-screen inserts shots, the idea of the giant rampaging monstrosity running amok in the woods or a suburban area is effectively captured. With the lizard-like face, ornate spike ring around the head and tribal coloring that evokes power and majesty, the title creature is effectively realized when it stands still. As well, with the central rampage and follow-up military attacks creating a fun old-school spectacle as the monsters' energetic outbursts and glee at toppling structures while also combating the forces against it show, the spirit is clearly there.
However, for as much as “Uktena” gets right, there's an equal number of wrong with it. Most of that comes from the decision to film so much of the monster sequences in the wrong style. The majority of the sequences should be filmed in high-speed with an over cranked camera that slows the footage down. Instead, the monster sequences are shot at regular speed making it plainly obvious that the costume doesn't hide the performer's figure nor does the special effects shortcuts get hidden. The toy vehicles placed around the sets are sometimes laughable, while the buildings are painstakingly atrocious cardboard boxes that fall over in one piece as CGI inserts of crumbling particles and dust fill the screen that is never matched in the slightest bit. The heart and spirit are there but it just comes off in the wrong manner.
More than anything, though, is the curious ability that seems to steer towards parody than outright homage. The CGI graphics for explosions, crumbling infrastructure and the monsters' unnecessary laser beam attack add a far more modern touch to something that is more old-school in approach. With the toy models, simple-minded approach and non-stop storyline, these aspects may be spiritually in sync with the movie: it's homaging but feel starkly contrasted with these more modern effects. Perhaps if the film dropped the monsters' needless beam weapon which doesn't fit in with the Native American folklore of the creatures' origins or the pointless cutaways to the lone citizen watching monster movies on television, the resources for those scenes could've been utilized to improve the effects. These may be up to viewer preference, though, and shouldn't be held against the movie entirely.
Featuring some fun throwback elements of the genre but also containing some unpleasant technical aspects, “Uktena: The Horned Monstrosity” is a mixed bag of affairs that is purely one-dimensional. Fans of the style and genre that will recognize the homages will be the main audience here.
