The script, from a short story by Don-aid Wolheim, tells a classic nature-takes-revenge-on-us-for-messing-with-her story. Mira Sorvino and Jeremy Northam are scientists who have stopped a cockroach-borne epidemic in New York City by releasing genetically engineered roaches programmed to breed and then die. A few years later signs of a different problem ap-pear: some of the designer bugs may have outwitted their DNA, mutating into scary new forms. The two scientists set out to solve the problem they have created.
A virtuoso at tension and atmosphere, Del Toro orchestrates sounds, shadows and textures with expressionist malice, andsets the action amid damp, vaulted spaces and in tunnels full of forgotten industrial debris-the city as a roach nest. Sorvino, with her air of Yuppie expertise and her face puffy with guilt and fear, is touching as the top bug-fighter. Playing her mentor, F. Murray Abraham hits eerie bass notes. Charles S. Dutton, warm and humorous, is the cop who leads the team underground.
As a yuck!-and-eek! extravaganza, the film is an effective successor to “Scream”–audiences at New York previews have been shrieking, giggling and talking back to the screen. Yet “Mimic” is also a feast for film buffs, recalling such cult favorites as 1985’s “Re-Animator” and the Italian vampire movies of the ’60s. In one long sequence, the investigators take shelter in an abandoned subway car deep under the city: All around are scaffolding and crud; above, far out of reach, beckons an enormous, befogged skylight. The image has the flamboyant poetry that silent movies are still treasured for. Then the giant cockroaches attack. “Mimic” is just an exploitation movie with artistic touches, but it gives us the creeps about all the creatures we share our cities with.
