Unleashing a thrilling combination of suspense and shock, "The Flood" borrows inspiration from the infamous scene in "Jaws" where Robert Shaw gets eaten. The landmark film "Jaws" by Steven Spielberg, is arguably the finest B-movie ever. With its breathtaking fusion of tension, terror, and raw shock factor. Echoing this winning formula, "The Flood" serves up its own heart-stopping instances of human-alligator encounters. The backdrop is a violent prison break within a remote Louisiana police station during a hurricane. The film mimics the blood-curdling allure of a slasher movie, albeit with ferocious reptiles replacing the traditional human antagonist.
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The genre of alligator thrillers, essentially viewed as budget-friendly imitations of “Jaws,” often chooses basement settings. Here, these formidable creatures can slither out menacingly. The genre shot to prominence with the 1980 film “Alligator”. This film was intriguingly penned by John Sayles. In the same year, unveiled his influential independent drama “Return of the Secaucus 7.” His involvement with “Alligator” hinted at the tantalizing possibility that alligator movies could be both chilling monster thrillers and wry, self-aware critiques of the genre. The genre’s origins, however, predate “Alligator”, tracing back to Tobe Hooper's largely disappointing “Eaten Alive” in 1976, made right after his success with "The Texas Chain Saw Massacre." Since then, the genre has expanded to include a plethora of such titles. For example, “Lake Placid” (1999), “Dark Age” (1987), “Black Water” (2007), and the recent yet somewhat overhyped “Crawl” (2019).
In contrast, "The Flood" exhibits a more playful approach, embracing its ludicrous premise and charging ahead with kinetic energy. It doesn't shy away from setting the tone right from its first scene. An alligator invades a house sheltering two strangers within mere minutes. This instantly signals the film's intent to deliver explicit and shocking visuals. The alligator attacks have graphic details and are unapologetic, eerily reminiscent of the shock tactics employed in adult entertainment. Despite being digitally created, the alligators' carnage, replete with a vivid spray of digital blood, is surprisingly convincing and visceral.
As the narrative unfolds, the suspense escalates. Four massive 500-pound alligators infiltrate the Lutree Sheriff’s Department, a fortress-like building in Louisiana. Adding to the tension, this establishment also happens to be housing a group of brutal criminals that are between prisons. In a twist of fate, the police station is under siege by allies of the prisoners. They are attempting a daring breakout in the midst of the tempest. This is a premise reminiscent of the suspenseful dynamics in John Carpenter’s classic “Assault on Precinct 13.” It's an engaging setup that effectively balances human villains with predatory alligators, a winning formula that movies like “Crawl” lacked.
Brandon Slagle, the director recognized for his work on "House of Manson", capably steers the narrative, ensuring the tension never dissipates. The ensemble cast, led by Nicky Whelan's uncompromising sheriff character, who bears a resemblance to a blue-collar version of Angelina Jolie, delivers commendable performances. Actors like Mike Ferguson and Randall J. Bacon, with their imposing physiques, convincingly portray the rugged criminals. Casper Van Dien from “Starship Troopers” plays the role of a somewhat sympathetic inmate in a romance with the sheriff, which adds an element of human drama to the otherwise grim plot.
However, the true magnetism of "The Flood" lies not in its human drama but in its relentless promise of repeated alligator attacks. The narrative skillfully exploits the formula of stalking, slithering, and chomping, repeating this cycle to an effect that is both terrifying and oddly satisfying. The movie serves as a testament to the continued appeal of the alligator thriller genre, celebrating its ability to deliver high-octane suspense and visceral thrills.
