The film needs more mice in scene. We'll add them in post.

C.H.U.D.

MV5BNDM4NTkwMDczMV5BMl5BanBnXkFtZTYwMTgzMTA5._V1._SX335_SY475_[1]This monster movie has a lot of problems. First of all, there are two plots vying for dominance: one with a photographer and his fiance, the other with a police officer and a priest. The movie cuts back and forth between these plots as they slowly, slowly develop. I don’t think the writer had a sense of which story he wanted to tell; he should have picked one. As it is, there is way too much dull build-up over the course of these two separate plots. Characters tease in new information. New plot threads pop up only to quickly be dropped. The photographer’s fiancée is pregnant; irrelevant. The photographer meets a man with inside information who leads him into the sewer, and then the man get’s killed; it’s a plot dead-end, so lose it. The cop’s wife turns up dead; her disappearance should have been established and developed earlier, so that when I saw the woman’s dead dog hanging in the sewer, I hadn’t already forgotten that there was a dog in the movie. They keep developing these two plots endlessly, setting more and more things up when they should just cut to the chase. Consequently, the titular monsters are barely in this thing. An hour in, and they’re still trying to slowly tease the monsters in; by this point, C.H.U.D.-mania should be in full-swing. Really, things don’t get into gear until an hour and ten minutes in, when some monsters attack a diner and we get a decent look at them. It’s even later before the two main plots finally start to converge. At last, there’s a big finale, with very few monsters in it, and it’s too little, too late.

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