Alligator 4K Blu-ray Movie

Rating summary

Movie		3.5
Video		4.5
Audio		4.0
Extras		5.0
Overall		4.5

Alligator 4K Blu-ray Movie Review

Reviewed by Brian Orndorf February 21, 2022

1980’s “Alligator” is a little late to the party, but it remains a direct riff on the monster success of 1975’s “Jaws,” contributing another natural world menace to help jolt audiences still interested in this particular danger zone. Director Lewis Teague (“The Jewel of the Nile,” “Cujo”) is no Steven Spielberg, but he has John Sayles, a respected screenwriter who attempts to bring something different to the challenges of a reptile rampage endeavor, working to give material that’s usually so simple some degree of character complication. The effort is noticeable, offering “Alligator” something more to work with during the long stretches of stillness that occur between stalk-and-kill sequences.

In 1968, a tiny pet alligator, Ramon, is flushed down the toilet by an angry parent. In 1979, Ramon has fed on animals exposed to a synthetic hormone created by the villainous Slade Pharmaceuticals, growing huge in the bowels of the big city. Tracking an ongoing case involving the discovery of severed limbs in the sewers is Detective Madison (Robert Forster), and he’s determined to find the killer. What Madison actually encounters is Ramon, a hulking alligator finally ready to surface, putting the locals into a panic as the creature winds its way around the streets and lakes. Teaming up with Dr. Kendall (Robin Riker), a herpetologist, Madison makes it his personal mission to take down Ramon, only to encounter red tape, his doubting captain, and the ways of big game hunter Brock (Henry Silva), who’s looking for a prize.

Ramon is a souvenir from a Florida gator park, with a young girl happy to have a pet, while her father feels differently. He gets rid of Ramon while she’s away, flushing it down the toilet, giving the alligator a home for the next decade, where it feeds on juiced-up dogs crudely discarded after illegal experimentation. Sayles offers the first of many interesting ideas in “Alligator” with this food supply issue, taking aim at cruel animal experimentation, making Slade Pharmaceuticals the real villains of “Alligator.”

Madison is also a compelling player in this game of survival, introduced as a tired detective with balding issues, living on his own while dealing with the crimes of the city. He’s not a typical supercop, with Forster and Sayles finding ways to make the character feel lived-in, especially on the job, as Madison is haunted by the death of his partner from years ago, irritated when reminded of his mistakes, especially from the predatory press that’s out to mock him. “Alligator” pays attention to the growing issue of Ramon, but the feature works surprisingly well as a psychological study of Madison, who, after a close encounter with the creature, emerges as the only man in town who’s sure there’s a giant alligator in the sewers.

“Alligator” is a strangely structured picture, initially building to the big reveal of Ramon, who breaks through the sidewalk and starts munching on weirdly unsurprised victims (with help from a sound-alike “Jaws” theme) at the midway point of the picture. Teague gets as far as he can with such a situation, trying to keep the animatronic alligator covered in quick cuts, hiding its stiff movements. However, the momentum of this introduction is eventually lost, with the production trying to pad the film with subplots to make it to a 90-minute run time, even introducing the development of attraction between Madison and Kendall, who simply forget there’s a car-sized, hungry reptile on the loose, more focused on their sexual needs. “Alligator” suffers some deflation as it unfolds, and potentially thrilling additions, including the arrival of Brock, bring shockingly little energy to the movie, which eventually lumbers to a grand finale.

“Alligator” is presented in two versions: Theatrical Cut (90:50), and a Television Version (98:05), which is offered on Blu-ray only. The latter uses an interpositive to source the new footage.

Alligator 4K Blu-ray Movie, Video Quality 

Screencaps are taken from the Blu-ray release of "Alligator."

"Alligator" is brought to UHD by Shout Factory, who provide a Dolby Vision presentation for the 1980 picture. Detail is excellent throughout, making the low-budget feature look fresh, exploring the rough skin particulars of the police characters, and the bumpy surfaces of Ramon. City and sewer tours retain deep dimension, and decorative elements around the police station and living spaces are open for inspection. Colors are vivid throughout the viewing experience, with large amounts of green utilized in the original cinematography, making a distinct impression here. Bluish sewer visits set a cooler mood, while exteriors retain summery warmth, with distinct greenery. Period costuming deliver brighter primaries, and skintones are natural. Delineation is secure, preserving stretches of limited lighting and evening activity. Grain is fine and film-like. Highlights are tasteful, providing brightness with flashlights and light of day illumination. Source is in excellent condition.

Alligator 4K Blu-ray Movie, Audio Quality 

The 2.0 DTS-HD MA mix often reaches the limitations of the original track, hitting some mildly fuzzy highs at times, reflecting technical achievements. Dialogue exchanges are clear, securing performance choices and heated moments of panic. Scoring cues support as needed, with a defined synth presence. Sound effects are blunt but effective.

Alligator 4K Blu-ray Movie, Special Features and Extras 

• Commentary features director Lewis Teague and actor Robert Forster.

• "Wild in the Streets" (24:32, HD) is an interview with director Lewis Teague, who recalls his initial contact with the script, agreeing to do "Alligator" with help from a full rewrite by John Sayles. Also helping the cause was Robert Forster, with Teague meeting the actor while making "Avalanche," finally ready to offer him a meaty part. Technical achievements with the creature are shared, with the slight immobility of the suit inspiring Teague to lean into the comedic elements of the writing. The sewer system shoot is detailed, including specific lighting needs while wading around in the dark. The interviewee discusses the "urban myth" inspiration for the material, and charts its unusual path to release, as "Alligator" was originally sold to television, urging Teague to show the film to critics to help inspire a single-screen run. Unexpectedly, Teague gets emotional at the end of the conversation, discussing his career and struggles with substance abuse.

• "Gator Guts, The Great River, and Bob" (22:17, HD) is an interview with Bryan Cranston, who details his career climb in Los Angeles, performing in commercials and taking extra work to learn the business in the late 1970s. Finding P.A. work on "Alligator," Cranston eventually moved from the boredom of office work to the special effects department, participating in the creation of gore for the movie's finale. Cranston recalls his time in the "L.A. River," but he goes in-depth when remembering Robert Forster, sharing a van ride with the star, who was curious about the P.A.'s duties on the film. Cranston gets emotional thinking about Forster's kindness, and he offers a humorous anecdote concerning their reunion on the set of "Breaking Bad."

• "Alligator Author" (17:19, SD) is a 2007 interview with screenwriter John Sayles, who previously worked with director Lewis Teague on "The Lady in Red." Tasked with changing the original script for "Alligator," Sayles tried to use as much real-world inspiration as possible, dealing with social problem in the monster movie, along with adding a few authentic creature touches, including bathroom habits. The sewer location also provided Sayles with an area to explore. Casting is highlighted, including Forster, who asked that his thinning hair be referenced in the picture. Sayles seems pleased with the work, enjoying the life "Alligator" has developed with its fan base.

• "It Walks Among Us" (9:35, HD) is a 2022 video conference interview with screenwriter John Sayles, and it basically repeats the same information as the 2007 discussion. Sayles goes a bit deeper with his dramatic inspirations here, but no new revelations are offered.

• "Luck of the Gator" (12:28, HD) is an interview with special makeup effects artist Robert Short, who shares his primary responsibility on "Alligator," tending to the gore shots in the movie. Short discusses his daily chores, acquiring rubber limbs from "Piranha," and his closes with an anecdote concerning his encounter with a real-life alligator during a stunt shot, learning of the creature's amazing power.

• "Everybody in the Pool" (7:33, HD) is an interview with actress Robin Riker, who recalls her understanding of the Hooper- like character, needing very little to work with. The interviewee details her time with co-star Robert Forster, along with other actors in the film. Riker also explores her time with alligator and her evenings in the sewers.

• Still Gallery #1 (22:38) collects film stills, poster and VHS box art, lobby cards, newspaper ads, and BTS snaps.

• Still Gallery #2 (3:19) focuses on newspaper ads from theatrical engagements around the U.S.

• T.V. Cut Additional Scenes (8:01, SD) provide a look at an extended version of "Alligator."

• "Trailers from Hell" (1:24, HD) features Karyn Kusama, who shares her appreciation for "Alligator" and mentions her time working for writer John Sayles.

• T.V. Spots (1:56, SD) offer four commercials for "Alligator," and a Toy Ad (:31, SD) for "Alligator: The Game" is included.

• And a Teaser Trailer (1:12, HD) and a Theatrical Trailer (2:35, HD) are included.

Alligator 4K Blu-ray Movie, Overall Score and Recommendation 

The grittiness of "Alligator" and happiness to play into R-rated activities concerning Ramon's wrath help the picture remain memorable. Performances also contribute so much to the effort, with Forster bringing an unusual vibe of masculinity and insecurity to the part, allowing Madison to be more than a hardened Clint Eastwood-type. The feature doesn't completely follow through on early potential, but in the small collection of "Jaws"-ish endeavors, it's certainly one of the best ones.