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Jimmy Quinn, a
small time crook discovers that in order to make easy money one must break a
few eggs. Larry Cohen’s giant monster movie places an Aztec god in the center
of New York City and structures the story as a police procedural. It’s an
interesting concept as Detective Shepard (David Carradine) develops a duel
investigation because he links a serial killer who commits ritual sacrifices to
the winged serpent who is devouring innocent victims. Of course, Shepard falls
victim to politics as the mayor is only concerned with finding the monster and
killing it and fails to consider the ritual motive.
Director Larry
Cohen is used to working with small budgets and here it is effectively on
display. He often shoots from the monster’s POV so he doesn’t have to reveal
the creature. Cohen also allows only a quick glimpse into its open mouth or its
shadow upon a skyscraper. After one attack which we barely glimpse, he shows
pedestrians walking below being showered with blood from the corpse as it is
carried away. These effects are rather affective but when the payoff comes it
is rather disappointing as it looks like a poorly sculpted foam & rubber
figure: believe me, this is not Ray Harryhausen! He films on location
throughout the city and this gives the story a certain gravitas. It certainly
was the right decision because the faux-reality of studio filming would have
made this film unwatchable. Cohen is able to generate some suspense and a few
jump-scares but suspends it all after revealing the monster’s location. It then
focuses upon Jimmy Quinn and his get-rich-quick scheme and the story becomes
shrill and overbearing.
Michael Moriarity
really steals the film out from under the latex creation and is the star of the
film. As Jimmy Quinn, he twists and turns with nervous energy and grins like a
shark. The problem with his performance is that he becomes annoying and unlikable.
While anti-heroes can be the focal point of a story they must adhere to one
rule only: they must be interesting. Quinn starts out as interesting but falls
into stereotype. Meanwhile David Carradine sleepwalks through the movie and is
not only uninteresting but even more sinful: boring. Aside from Moriarity, the
entire cast phoned in their performances!
Cohen tries to
jump-start the final act with a machine-gun battle from the top of the Chrysler
building (alluding to the grand finale of KING KONG) but the SPFX aren’t up to
the task. The final shot of an undiscovered nest with egg in another part of
town is the final payoff and as it cracks open the camera zooms into its inky
blackness.
Q is good for a
few scares and laughs but is not one of Cohen’s more imaginative
endeavors...but it does have its charm.
Final Grade: (C)
