Directed by Harry Essex, co-scriptwriter of '50s Universal classic Creature From The Black Lagoon, '70s drive-in eco-horror Octaman is a lesson in how not to make a monster movie. Within seconds, Essex has revealed his tentacled titular creature in all of its rubbery glory -- a laughable man-in-a-suit creation that walks stiffly whilst flailing its flaccid limbs, it's completely immobile face in a constant look of surprise, as though it's just sat on a cactus (it does live in Mexico, after all!).
Having provided viewers with a good laugh at the expense of its monster, Octaman has little else to give, the remainder of the film consisting of countless encounters between a plucky band of marine biologists and the manky mollusc man, none of which are all that thrilling. In true movie monster fashion, the creature attacks the men, but carries off the film's only female (Pier Angeli), not once but twice, making it a lot like the Creature From the Black Lagoon - in spirit, at least.
With repetitive, dreadfully dull action, terrible performances, and a truly pathetic monster, Octaman is totally inept in almost every way imaginable, BUT it's still essential viewing for avid fans of practical special effects, the film being the first paid gig for future seven-time Oscar winner, make-up legend Rick Baker. Hard to believe that in the short space of one decade he went from A Mutant Octopus in Latin America to An American Werewolf in London.
2/10. Amazingly, this is not Harry Essex's worst film: his next movie, The Cremators, is a steaming 1/10 pile of garbage.
Having provided viewers with a good laugh at the expense of its monster, Octaman has little else to give, the remainder of the film consisting of countless encounters between a plucky band of marine biologists and the manky mollusc man, none of which are all that thrilling. In true movie monster fashion, the creature attacks the men, but carries off the film's only female (Pier Angeli), not once but twice, making it a lot like the Creature From the Black Lagoon - in spirit, at least.
With repetitive, dreadfully dull action, terrible performances, and a truly pathetic monster, Octaman is totally inept in almost every way imaginable, BUT it's still essential viewing for avid fans of practical special effects, the film being the first paid gig for future seven-time Oscar winner, make-up legend Rick Baker. Hard to believe that in the short space of one decade he went from A Mutant Octopus in Latin America to An American Werewolf in London.
2/10. Amazingly, this is not Harry Essex's worst film: his next movie, The Cremators, is a steaming 1/10 pile of garbage.