Prophecy (1979)

Humanitarian Dr. Robert Verner (Robert Foxworth) is asked to help out the Environment Protection Agency in a bitter land dispute between a paper mill and the neighbouring native Americans. While investigating, Verner discovers that a chemical leak from the mill has been causing mutations in the wildlife, resulting in a massive, monstrous, bear-like creature that roams the land killing at will.In early Hollywood movies, the Red Indian was a whoopin' and a hollerin' savage intent on scalping heroic cowboys, but by the '70s, the white man was feeling a tad guilty about stealing the Indians' land and then depicting them as bloodthirsty brutes, and so tried to atone for their actions by thereon portraying the native American as a peaceful, noble breed, living in harmony with the environment, while showing Caucasians to be untrustworthy rogues. Director John Frankenheimer's Prophecy is not only guilty of this ridiculous politically correct reversal of stereotypes, but it fails to offer horror fans much to get excited about: the plot is predictable eco-warrior garbage, there is little to no gore, and the monster is utterly laughable.Several scenes do, however, make this one just about worth a watch, albeit for the wrong reasons: brave Native American John Hawk (played by Italian/Irish actor Armand Assante) locked in a chainsaw vs. axe battle with a lumberjack, a hilarious attack by a raccoon on the doctor and his wife (Talia Shire), and the unforgettable sight of a kid in a sleeping bag being swatted like a fly by the creature are all guaranteed to make you smile.

Hard to believe that political thriller specialist John Frankenheimer ("The Manchurian Candidate", "Seven Days in May") is the man in the directors' seat of this sometimes silly, sometimes effective shocker. It's definitely a horror film with a message, an ecological one, although it's laid on with an awfully heavy hand.Written by David Seltzer of "The Omen" fame, it spins a yarn about classical musician Maggie (Talia Shire), who accompanies her doctor husband Rob (Robert Foxworth) to upstate Maine where's he to do some investigating at the advice of a friend. What they and others discover is that methylmercury poisoning has turned the local wildlife into big mutant killers - one bear in particular."Prophecy" begins extremely well, with an intense chase sequence at night, and delivers some good moments as it plays out. It also has more than enough moments where it's possible that the audience is going to burst out laughing - that legendary sleeping bag sequence in particular. The creature effects by the Burman studio may well be a source of amusement for the viewer, even in attack scenes that should be exciting and scary. The location shooting is excellent, the scenery is wonderful, and Leonard Rosenmans' music score is majestic.Shire is likable, bringing some humanity to the proceedings as the young woman who's worried about the effect that eating contaminated fish will have on her developing fetus. Foxworth is good, but his character is pretty damn sanctimonious. In an interesting inversion, the paper company boss (Richard Dysart) - who usually would be undoubtedly the villain in this sort of thing - is actually more engaging an individual than the stubborn Indian activist (a ridiculously cast Armand Assante) fighting for his people. Trivia note: future director Tom McLoughlin ("Jason Lives: Friday the 13th Part VI") and actor Kevin Peter Hall ("Predator", "Harry and the Hendersons") are among those taking turns playing the mutant bear (or, as Leonard Maltin puts it in his annual guide, the "giant salami")."Prophecy" is decently entertaining. Some viewers may appreciate it more as a so-bad-it's-good type of affair, but it still must be said that at least it's not boring. Monster movie lovers might enjoy it.Six out of 10.

You can easily say that this is not your average bear. Nor killer bear. Think "Grizzly"… only angrily mutated. Film-maker John Frankenheimer's ecological crossed monstrous creature feature outing is one smartly explored commentary, but at the same time outrageously daft experience in low-end b-grade exploitation. After a curiously ominous opening to sucker you in, it then focuses on the melodramas and political aspects of the story / script. Somewhat talkatively preachy with the environmental issues (a chemical disruption in the evolution stages of the animals in rural Maine) and slow-going as a land dispute erupts between the lumber company and the native Indians, but this is to make sure that the latter end would have much more of an impact. In which case it surprisingly does, although that's when the make-up FX shows up with our frenzied creation and what was presented can only be labelled as cheaply hokey. Before then we would only get the heavy breathing. After that promising intro, it takes almost a good hour before our hideous bear goes on the rampage again and this next attack while quick is risibly captured. From then onwards it's a battle of survival in the elements and there are a lot of aggressive bursts where a lot people go flying across the screen. I guess it doesn't like it when you're looking at it. Hard not to though. Director Frankenheimer slickly crafts it out with some beautifully shot landscapes, but also well placed splatter inflicted shocks and an atmospheric night-time lake encounter. The further along it goes, the sillier it does get. Leonard Rosenman's music score is forcefully cued. The performances are tolerable with the likes of Talia Shire (who's always looks a stunned dear in headlights), Robert Foxworth, Armand Assante and Richard Dysart. A nastily so-so little cult fare that ends on those predictably common final shots."I don't think anybody's listening"

When a city health specialist trades the ghettos for the serenity of a mountain landscape to investigate an apparent health hazard at a timber refinery, he (Foxworth) and his wife (Shire) find a disturbing by-product has evolved from the toxic pollution, putting the local Native American community and their rival logging employees at risk. A giant mutation (akin to a bear) has become the apex predator of the local wilderness, forcing foes to join forces to combat the threat.Picturesque and generally well-developed tale of nature gone awry, combines an initially sobering dose of environmentalist pathos, indigenous injustice and commercial greed with the common monster-on-the-loose theme to reasonably satisfying effect. The principle characterisations are well drawn, and generally played to type, benefiting from a talented cast, well accustomed to dealing with aggressive animals (see Foxworth in "Ants"). Frankenheimer strays from the conservation cause in the latter half, instead concentrating on the action, where the characters forgive one another's sins, in common struggle against a more immediately present enemy.The monster (portrayed here by future "Predator" Kevin Peter Hall) and its not so cute as a button offspring are such an unfortunate looking consequence, that one can't but feel sympathy for its mindless fixation with mayhem. Naturally, the protagonist (Dysart, as the logging manager) claims redemption for his company's misdemeanour, and is appropriately exorcised by the unholy creation, but the sub-plot involving Shire and her suspect foetus is never fully developed, lost amid the action of the second half. As such the audience is left to ponder the outcome, although, as is formula for these types of films, the door is left open for a film franchise to be borne.While the sequel never materialised, the message remains clear – mess with nature, and trouble you shall get. "Prophecy" isn't especially prophetic, but it is entertaining, and easy to absorb on a basic level. And for the conscientious film buff, the scene in which the monster walks under water apparently inspired the hilarious scene from an episode of the "The Simpsons" when Skinner is hunting a truant Bart Simpson, terminator style.