I couldn’t ask for a finer treatment of the motif of interbreeding with fish people, which remains a silly idea. The sea here represents women as in “The Horror at Martin’s Beach” (1923). In the last twist, Lovecraft sublimates his recurring motif of a white man discovering a non-white ancestor—“Facts concerning the Late Arthur Jermyn and His Family” (1921)—or spouse—“Medusa’s Coil” (1930)—and cleans out the literal racism. I wonder whether the excellent result, akin to the ending of “The Temple” (1920), illustrates the feeling he was going for in the overtly racist works.
Supernatural horror with modern graphic slasher elements. Based on The Shadow Over Innsmouth rather than “Dagon” (1919).
A boat with two couples on board crashes onto some rocks outside a Spanish fishing village due to a freak storm. One couple gets ashore to summon help but there’s nobody on the streets of the village. They all seem congregated in the local church. The sound of chanting emanates from within. Over the door is written “Esoterica Orde de Dagon.”
Heavily modernized and CGIed to hell and back in some scenes. The tension dies at times, particularly when the Miskatonic-graduate hero kicks creature ass with a muddy hubcap, but that is to be expected from any careless filming of HPL. Some modern deconstruction and humour, but not too much, and lots of clichés, including Leatherface syndrome. Absurd fighting sound effects, and a fitting end. Just about the right mix of kitsch and homage.