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MGM&#x27;s Species franchise, like Wishmaster and The Crow, is a perfectexample of the law of diminishing returns. Roger Donaldson&#x27;s 1995 hitSpecies was a stylish, self-consciously trashy homage to B-movies. Onethat has had its scenario rehashed three times now. <br><br>One would expect a low-budget sequel to revel in sleaze and gore, butsince 2004, when the concept was resurrected, 6 years after the cinemarelease of the disastrous Species 2 (1998), for the direct-to-DVDmarket, there has been a surprising resistance to the gratuitousingredients of sex and violence. Species 3 paid little more than lipservice to the desires of the target audience and the same is truehere. <br><br>Deviating from the plot line established by the first three films,which featured Natasha Henstridge, The Awakening is a standalonefeature that references and reimagines the ideas of the first film. Itposits an alternative scenario; what if the scientist played by Sir BenKingsley in the original had not kept the young girl like a rat incage? What if he&#x27;d raised her like his own? <br><br>This could have made for an intriguing exploration of nature versusnurture. Had Henstridge&#x27;s Sil been allowed to develop in a more normalway could her dangerous, alien side have been suppressed? Alas there islittle such depth to this cheap cash-in.<br><br>Kingsley&#x27;s role is reinterpreted by fellow British thespian Ben Cross,while Swede Helena Mattsson (who looks a bit like Nicole Kidman) takesover where Henstridge and Sunny Mabrey left off. With only four keycast members and no sign of even Michael Madsen, The Awakening is theweakest of exploitation films. Only the audience is being exploited. <br><br>A studio like MGM isn&#x27;t short of cash, so the explanation for thecheapness of this film is clear; they knew they can get away with itand turn an easy profit. Studios like The Asylum have their desperatelylimited resources to explain their crass and dissatisfactory efforts,but there&#x27;s simply no excuse for a Species film to be as unspectacularas this.<br><br>Feeling more like a cross between a vampire movie and a retelling ofMary Shelley&#x27;s Frankenstein than a sexy sci-fi movie, Nick Lyon&#x27;s filmmerely coasts on tenuous links to its predecessors. There are the HRGiger-inspired creature costumes and the promise of flesh is vaguelysatisfied but there&#x27;s not much effort or imagination. Were it not for afew gratuitous moments and aggressive curse words this could have beenmade for mainstream TV. <br><br>Lyons does well to pay homage to the original film and its subtext butseems to have forgotten how tongue-in-cheek it all was. Species 4should have taken things to a cartoonish extreme. Instead what couldhave been knowingly amusing is just po-faced and embarrassing. FromDominic Keating&#x27;s terrible Aussie accent to the fact that the alienhybrids use their tongues as weapons, at one point they shooticicle-like spears from their mouths in bullet-time, the experience isone of contradiction.<br><br>The original Species really went for it. Utterly shameless titillation.The sequel went further, but in a misjudged, sleazy and misogynisticdirection. Perhaps this is why the following two instalments have beenso tame. The Awakening, as evidenced by its 15 rating, delivers thebare minimum that one could expect from a film with the Species title.Cautiously exploitative. <br><br>Like its heroine, The Awakening is in denial, trying its best not togive in to its primitive instincts. There&#x27;s the potential for a wildride in its concept and its plot, but Lyons takes it so seriously thatthe only laughs come unintentionally. This is a film in which a backalley scientist creates sex-crazed human/alien hybrids that run aroundMexico! One of them dresses as demonic nun and leaps between rooftops,lassoing potential prey with its tongue; this is potentially hilariousstuff! But it&#x27;s stripped bare, like its heroine in the final act,devoid of emotion. This is a film of wasted opportunities.

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