The monster is all creature feature The Tank has going for it. agracru's review:
’ second season – and if all of that sounds great, brace for disappointment.
In 1978 Oregon, pet shop owners Ben and Jules are treading financial water. Out of the blue arrives a lawyer, Amos Tilbury , who informs Ben of a heretofore unknown sprawling coastal property left to him by his recently deceased mother. Ben packs up the car with Jules and their daughter Reia , heads out to the Beaver State’s farther reaches, and finds a house in disrepair with a monster lurking in the unsealed water tank built by Ben’s own dad 30 some odd years prior.
To an extent, it’s fun being scared from the same vantage point as Ben, Jules, and Reia, left to wonder if the bumps in the night and obscured shapes gliding in murky water are just harmless woodland critters. But it’s also fun to admire the creature suit filled out by Regina Hegemann, and fabricated by the fine folks at Weta Workshop, who used nature as their primary context for designing’s star abomination.
There’s a secondary problem with his leisurely pacing, too: As the story ambles, his writing slackens by the minute. The movie imparts no sense of who Ben and Jules are as individuals or a couple, apart from wretched clichés. When Jules sees the creature peeking through the kitchen window, she shrieks; Ben pulls a classic husband blunder and convinces her that all she saw was a sneaky raccoon. Despite this, there’s no conflict between them.
As for Reia, forget about it; the film certainly does. She’s a cipher. Her sole purpose in the film is to be Newt Jordan, though Carrie Henn and James Cameron efficiently and gracefully filled out that character. Expecting’ legacy is asking too much of a director with two feature credits to his name to date. But it’s right to askof Walker, and the film, than the thin character sketches he gives his principal cast to work with.
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