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Devil’s Triangle (2021) Review

With Devil’s Triangle director Brendan Petrizzo (Monster Hunters) and writers, Brendan Haley (Poltergays) and Joe Roche (Planet Dune, Robot Apocalypse) have scored what I believe is a first. The first film produced by The Asylum to get a theatrical release. Granted it’s only five theatres, but you gotta start somewhere, right?

A plane full of marine biologists is mysteriously shot down somewhere over the Devil’s Triangle, or The Bermuda Triangle if you prefer. Between the crash and a hungry great white, only a few of them including Del (Liam Hawley, 666: Teen Warlock), Vera (Morgan Bradley, World War Four), Sam (Alyson Gorske, 616 Wilford Lane, Jungle Run) and Ruth (Torrey Richardson, Meteor Moon) make it to shore on a nearby island.

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In short order they see a three-headed creature that resembles King Ghidorah rip the great white that had been attacking them in half. And before they can get over that they’re attacked by sword and spear-wielding natives who wear modern body armour and travel by submarine. At this point they begin to realize they’re not in Kansas anymore.

I mentioned that Devil’s Triangle is from The Asylum, so it should come as no surprise to anyone that the survivors are soon on their way to Atlantis. Chained to a piece of cardboard pretending to be a brick wall inside a submarine no less. The Asylum has to do things like this intentionally. I mean why put in an out-of-place and obviously fake prop except to wink at the audience? It’s not like there aren’t plenty of things on a sub to cuff someone to.

This is all utter nonsense of course, but at least Devil’s Triangle is fast-moving nonsense with a couple of monsters thrown in for good measure. And even more importantly we get a quick glimpse of Pluto (Fred Williamson, Atomic Eden, VFW). And you know if The Hammer is around there’s going to be some action going down. But not until after we get a tour and some exposition.

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Thankfully the explanation of why Atlantis is pissed off at us is mixed in with repurposed footage from Bermuda Tentacles and, I think, Megalodon Rising to take the edge off of all the talk. Suffice to say that it involves global warming and its effect on the oceans, and by extension Atlantis itself. The solution? A World War 2 submarine somehow fitted to launch a nuclear attack on the surface world.

I was thinking that since Devil’s Triangle was going out to theatres it would have better production values than the average Asylum film. That was not the case. The CGI for the hydra and the submarine are good, but the plane is at best passable as is the shark. One scene of it attacking a survivor using what looks like a wooden door as a raft is laughably bad.

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Other problems include wasted subplots. Sam is worried about her siblings Midge (Anna Shields, Lake Artifact, Dawn of the Beast) and Justin (Alejandro De Anda). They eventually turn up but what should have been an important subplot is turned into a throwaway moment in the film’s last few minutes. And while he still looks good for an eighty-three-year-old man, Williamson seems to have gotten a lot smaller in the last couple of years. The flamethrower he gets his hands on helps to make up for it though.

Despite its flaws, Devil’s Triangle isn’t boring and it kept me amused. I think it will probably play better at home with friends and beers than at a theatre. Unless it happened to be at a drive-in, then it would be perfect.

The Asylum will release Devil’s Triangle in theatres on November 26th. It comes to Digital on November 30th. You can check their Facebook page for more details.

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2 thoughts on “Devil’s Triangle (2021) Review”

  1. The Asylum mock buster Planet Dune was released theatrically. I didn’t mind that one. But I found this one overly tacky and a slog to get through. It took me two goes. The brick wall in the sub just seems shoddy rather than intentional. It’s cash saving Polonia like rather a knowing wink. Still, at least we got Fred Williamson and a hydra.

  2. When I settle in to watch a movie, my demand upon pressing play is as simple as it is fundamental: take me with you. The Asylum is too silly and campy for me to do that; my attention span usually caves in before the first act is through. But I have a soft spot for all things Bermuda Triangle (Christopher Smith’s 2009 film Triangle is a real treat) and I have this one in my to-watch queue. So I might just give it a try, my reservations with The Asylum notwithstanding, whenever I don’t know what to do with myself – which actually happens more often than I’d like to admit.

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