The Gargoyle (or Gargoyle) is certainly one of the least exploited figures in the diverse horror scene. An iconographic symbol that made a fine display in medieval Christian churches, it had its moment in the spotlight as well as in a 1990s TV movie, Cursed: Unknown Entity, in the third (beautiful) segment of the cult movie Tales From The Darkside (The Black Cat Crimes) of John Harrison; there are not very many films starring these evil creatures, being able to count themselves quietly on the fingers of one of their petrified paws.
Gargoyles starts with a fascinating idea: an army of winged dragons ready to dominate the world as happened in the mists of time. It will be up to a pair of policemen and a priest to try to stop them. In the director's booth dominates Jim Wyonrski, one who has made decent purely entertaining features with the camera such as The Return of the Swamp Monster (sequel to the film by Wes Craven) o The Komodo Curse. And again, if one shows some indulgence toward small, underestimated errors typical of these productions, one can become a child again and have fun, without getting caught up in manic cravings for obsessive-compulsive criticism.
Gargoyle is the poster child for those horror films where the idea matters more than the substance: a wanting to try to say something interesting, but whether because of the means available or a bit of technical inexperience, only part of what is interesting can be said. But when it does, it is done well by hitting the mark. The plot carries on two parallel paths that will eventually affect each other: the investigations of the pair of policemen, and the fulfillment of a criminal path pursued by a Gargoyle who targets anyone who comes within range.
The prototype winged figure is the one already seen a year earlier in the excellent Jeepers Creepers II. An attempt is made to bring back the same movements, the same ravenous flights that characterize the mythical Creeper of Victor Salva; but whereas in the film focusing on the exploits of the demon from the spring sorties these were accomplished with the aid of a successful mix of digital effects and splendid make-up, here, to save on production costs we rely entirely on computer graphics and the results in certain circumstances are not the best. But some well-crafted scenes, such as the Gargoyle's attack on a female visitor at the zoo or amusement park, leave one astonished by the director's ability to turn potentially idiotic scenes into sudden as well as drastic changes in the film's mood tones, making it go beyond the simple aesthetic rendering of the evil villain on duty.
A vary that leaves one surprised, like the final image that in its simplicity manages to surprise and make one snicker. The plot also, far from taking itself seriously, assimilates references to the origins of Vlad Tepes, at the Castle of the Count Orlok, to evil dragons and what not. Good music, and the anonymous faces of the lead actors are enough to fill simple straightforward roles.
A horror cartoon in its naivete certainly turns out to be more ingenious and well-made than some disposable gut-movies.
Review of Dark Boiler
