HUMANOIDS FROM THE DEEP. Sci-Fi Horror from Corman’s Mind

After years of working for American International Pictures, Roger Corman, along with his brother Gene, founded New World Pictures, a company dedicated to film production and distribution. This pivotal shift led Corman to almost entirely abandon directing in favor of producing works by young, talented filmmakers who were expected to shape the future of American cinema. Among them were directors who, thanks to the experience gained from working on Corman’s productions, broke into the mainstream, creating cult classics that have stood the test of time. However, not everyone succeeded—New World Pictures also employed women like Stephanie Rothman and Barbara Peeters, who remained confined to the realm of B-movies. Nevertheless, Humanoids from the Deep, directed by Barbara Peeters, is a fairly enjoyable and well-executed monster movie, which can be seen on Prime Video.

The story takes place in the fishing village of Noyo, California, where terrifying events unfold during a salmon fishing trip. Something large and powerful gets caught in a fishing net, and the attempt to bring it to the surface results in an explosion that destroys a boat and kills the fishermen. This marks the beginning of a gruesome series of deaths, with local dogs and residents falling victim to an unknown menace. Meanwhile, the village is embroiled in a conflict between representatives of a canning factory, led by Hank Slattery (Vic Morrow), and a Native American named Johnny Eagle (Anthony Pena), who is trying to curb corporate activities to protect the environment and his ancestors’ land. However, the battle between the two sides is interrupted when people realize they must face a far greater threat.

Mutant creatures begin emerging from the ocean depths with increasing boldness, designed and brought to life by 20-year-old Rob Bottin, a prodigy in the special effects industry. At just 14, he impressed the slightly older Rick Baker with his artwork and began apprenticing under him. In the 1980s, he contributed to the effects of classics like The Thing (1982) by John Carpenter and RoboCop (1987) by Paul Verhoeven. Though the humanoids in Humanoids from the Deep are simply men in suits, their design surpasses that of monsters from old-school horror films (even iconic ones like Creature from the Black Lagoon) and evokes unease with their grotesque appearance. Despite being created on a modest budget, the effects imbue the film with a distinct, brutal atmosphere, making it one of the more intriguing exploitation films of its time. Upon release, it was slammed by critics, but it served its purpose as an entertaining spectacle and eventually gained cult status.

Roger Corman himself ensured the film maintained a proper balance of violence and sex, essential ingredients of the genre. Initially, Joe Dante was offered the chance to direct the film, but having just finished Piranha (1978), he didn’t want to make another “sea monster horror,” so he declined. At one point, the film was set to be titled Beneath the Darkness, and the screenplay by Frank Arnold, Martin B. Cohen, and Frederick James was slightly more developed. However, the final version directed by Barbara Peeters failed to satisfy the producer. As a result, second-unit director James Sbardellati was tasked with adding scenes of nudity, rape, and more monster action, while editor Mark Goldblatt trimmed the film down to 80 minutes, removing scenes that leaned toward psychological thriller elements.

The biggest disappointment with these changes came from the women involved in the production—besides director Barbara Peeters, this included Ann Turkel, who played a marine biologist and was the real-life wife of Richard Harris. Peeters faced another issue: in the 1970s, she had joined the Directors Guild of America, which did not have an agreement with New World Pictures. As a result, she was fined $15,000 for directing the film.

Humanoids from the Deep echoes Corman’s early career (such as Monster from the Ocean Floor, 1954) and fully embraces exploitation cinema, featuring kitsch, absurd plot points, scientific inaccuracies, softcore elements, and the objectification of women. However, there are also traces of feminism—the character played by Ann Turkel symbolizes female intelligence and determination, while Cindy Weintraub’s character kills a monster with her own hands, refusing to wait for a savior. This scene, masterfully edited by Mark Goldblatt, is reminiscent of Psycho. However, what stands out most is the film’s attempt to engage with mainstream cinema—particularly the spectacular blockbusters of the time, with Jaws (1975) by Steven Spielberg being the most obvious reference. Once again, the “King of B-movies” proved that a visually engaging mix of horror, adventure, and sci-fi could be made on a lower budget—$2.5 million in this case.

Barbara Peeters’ film turns out to be much better than one might expect. The cast, led by TV star Doug McClure (best known for the series The Virginian, 1962–1971), may not display exceptional acting skills, but they make up for it with charisma—particularly Vic Morrow, who fully embodies the role of a stubborn and prejudiced troublemaker. The finale, set during a festival, creates the illusion that hordes of bloodthirsty creatures are attacking the crowd, delivering the grand-scale intensity of a big-screen spectacle. The epilogue, while seemingly lifted from a hit sci-fi horror film, still fits well within the story. Despite budget constraints, the film features solid practical effects (including gore and pyrotechnics) and an unsettling atmosphere, further enhanced by James Horner’s score, making it an exciting piece of B-movie cinema.