del Toro's 1997 Mimic isn't worth a great deal of time to spend on, and the studio system realized this by producing the sequels direct to DVD, but it is worth mentioning in terms of how American social anxieties evolve. Just as in The Exorcist, del Toro holds the audience with a minister being consumed, and while it might be a demon doing the killing, it is instead a super insect genetically engineered by an entomologist trying to combat a pathogen taking out your children, your blessed future.
Here, as in every New York City film, Dutton is the good tough love cop, whose class tensions with white over-educated liberals are resolved due to united combat against a human manufactured threat,
Giancarlo Giannini developing an interesting if fleeting niche as the world weary European slated for elimination, since he does this against Hopkins playing Hannibal as well, but the problem with the movie is del Toro is stuck with his fly open between convention and taking himself seriously, and can't pull it off. The special child only recognizes that giant insects are inhabiting dangerous abandoned places, and is not killed by the females for reasons we cannot fathom, other than the graphic murder of children is a last wavering line imagists aren't allowed to cross. It always occurs off camera, and if you look at old formula westerns, they did not lack for viciousness despite the two dimensional nature of the scripts. The villain took the Colt prop and killed a wailing baby, if necessary. All the strange child offers in Mimic is the driven sense of urgency. Guillero tapped the right vein; the elements brought to bear on it weren't cohesive enough.
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