[Originally published in Movietone News 62-63, December 1979]
Prophecy is actually two films, one of which I like. In the first hour or so the creature thatâ€™s been terrorizing the Maine woods is posited as both victim and avenger, much in the spirit of the put-upon creatures of Jack Arnoldâ€™s monster movies of the Fifties. Prophecyâ€™s creature, an outsized mutant bear whom the local Indians name Katahdin, is triply righteous: it is the victim of industrial manâ€™s incursion into nature, it is a defender of the sacred forest primeval, and it is out to reclaim its stolen young. Its sympathetic position is reinforced by association with the same morally justifiable rage that characterizes the Indians, who assert their land rights and environmental concerns against the encroachment of an expanding timber company. Verne (Robert Foxworth), a public health doctor, on an ecological mission to seek environmental reasons to stop the timber companyâ€™s growth, finds himself in the middle of a series of bloody killings for which the timber people hold the Indian activists responsible, while the Indians attribute the slaughter to Katahdin, their avenger. The essential dishonesty of David Seltzerâ€™s script is revealed in several too-pat occurrences that exemplify Seltzerâ€™s tendency to give mere lip service to the metaphors and moral dilemmas of his plot, in favor of getting on to more sensational matters; and itâ€™s here that the film turns sour.