See production, box office, & company info
At John's funeral, a seemingly kind old man stands near John's widow Hope. He is the master of The Crystal, possessor of its light and terror. Hope accepts The Crystal in good faith, praying it contains New Age love powers. But she has gravely miscalculated.
lacking everything becoming what normal people would typically refer to as a "film"
The rampant sexuality and covert Greco-Freudian undertones to this manically underacted, post-graphic horror schlock are the only elements discernible in the anti-riveting, effects-driven ab-climax, which comes at the end of a rather long (approximately seventy-seven minutes longer than my average, American, male attention-span for complete drivel: I think I could more easily watch thirty or forty minutes of C-SPAN bloopers than this film again)and, one wants to say, pointless "film". Until those last six or seven minutes--really an almost revolutionary or, at the very least, anti-conventionalist stretching of the dogmatic ideal of climax/resolution or, heck, even plot--I found it hard to actually look at the "movie": my eyes would slide off of the screen to examine the oaken flooring of my home, and, then, I was more interested in the amount of time remaining, counting down on my VCRs little blinking readout than in the MacGuyveresque solution to the monster problem. Notwithstanding the already-mentioned lack of everything becoming what normal people would typically refer to as a "film" except for credits (both beginning and end), I could almost admire the ability of G.L.Reed to play both a seemingly hypertrophied, pseudo-Satanic Duck/Reptile from some other dimension and manage both the art department and properties on this shamefully modern "movie."
- Jun 1, 1999
Contribute to this page
Suggest an edit or add missing content