Splice is two thirds of a really interesting movie, more an ethical debate about scientists playing God than a Species-like monster on the loose flick - and that's part of the problem. If you're going to riff on the reverberations of meshing human DNA with a hodgepodge of ancillary genetic material, you'd better have more of a pay-off than the sexualization of a freak. But after getting us in the mood for something good and splattery, co-writer/director Vincenzo Natali goes all psycho-sentimental on us. Instead of horror, he wants to explore the emotional depths two researchers will experience when they become too attached to their "experiment".
Clive (Adrian Brody) and Elsa (Sarah Polley) work for a major pharmaceutical conglomerate that turns a blind eye to their morally questionable means of getting results. When the duo create a new genus imbued with a valuable (and profitable) protein, the company demands more. Clive and Elsa argue that they can achieve said commercial goals via the use of the human genome. When they are rejected, they violate all protocol and proceed anyway.
The results are called "Dren" ("nerd" backwards) and, at first, the tiny creature appears aggressive but otherwise quite docile. Later on, as it rapidly matures into an inquisitive adolescent, the being (played under some intriguing make-up by Delphine Chanéac) yearns to be more than mere research. Fearing exposure, Clive and Elsa lock Dren up in a remote cabin. Naturally, the creature is less than happy about said living arrangements. As the company starts investigating their methods, Dren begins to grow antsy - and then violent.
It's never a good idea to promise something you have no intention of delivering. Even worse, don't reference an entire subgenre of b-movie fright fodder if you actually only want to fool people into thinking you're out to offer some schlock. Splice slides by initially, using the amazing acting prowess of Brody and Polley to pull us past some awkwardly clichéd material. We buy the relationship between Clive and Elsa, recognize how one (she) can control the other (he) and force him into doing something questionable and otherwise unorthodox. Once Dren is born, and the wonderful F/X work by Gregory Nicotero and Howard Berger kicks in, we find an additional level of intrigue.
Even as the overly expositional conversations keep reminding us of how "wrong" this all is, we watch as our scientific center of attention grows more and more absorbing. We are curious what will become of Dren, whether or not the trailer's threats of unholy carnage actually come true - and then, director Natali pulls the rug out from under our expectations, and not in a good way. With little over a half hour to go, Splice goes from good to groan-inducing. Without giving away the moment, it requires a leap in logic, a complete character meltdown, and a knowledge of mutant biology that few will find believable.
As the finale finally locates a level of dread, as Brody and Polley come to their senses and determine that something must be done about their abnormal abomination, Splice slinks into the standard scare stuff. But it's way too little, far too late. We expected more from a movie that wants to push the boundaries of what horror can and cannot tackle, especially within a scenario where science shows some incredibly misguided arrogance, and literally gets bitten by it as a result. Had it been true to its monster movie roots, it might have been more engaging. As it is, it's too much technology and not enough terror.
Clive (Adrian Brody) and Elsa (Sarah Polley) work for a major pharmaceutical conglomerate that turns a blind eye to their morally questionable means of getting results. When the duo create a new genus imbued with a valuable (and profitable) protein, the company demands more. Clive and Elsa argue that they can achieve said commercial goals via the use of the human genome. When they are rejected, they violate all protocol and proceed anyway.
The results are called "Dren" ("nerd" backwards) and, at first, the tiny creature appears aggressive but otherwise quite docile. Later on, as it rapidly matures into an inquisitive adolescent, the being (played under some intriguing make-up by Delphine Chanéac) yearns to be more than mere research. Fearing exposure, Clive and Elsa lock Dren up in a remote cabin. Naturally, the creature is less than happy about said living arrangements. As the company starts investigating their methods, Dren begins to grow antsy - and then violent.
It's never a good idea to promise something you have no intention of delivering. Even worse, don't reference an entire subgenre of b-movie fright fodder if you actually only want to fool people into thinking you're out to offer some schlock. Splice slides by initially, using the amazing acting prowess of Brody and Polley to pull us past some awkwardly clichéd material. We buy the relationship between Clive and Elsa, recognize how one (she) can control the other (he) and force him into doing something questionable and otherwise unorthodox. Once Dren is born, and the wonderful F/X work by Gregory Nicotero and Howard Berger kicks in, we find an additional level of intrigue.
Even as the overly expositional conversations keep reminding us of how "wrong" this all is, we watch as our scientific center of attention grows more and more absorbing. We are curious what will become of Dren, whether or not the trailer's threats of unholy carnage actually come true - and then, director Natali pulls the rug out from under our expectations, and not in a good way. With little over a half hour to go, Splice goes from good to groan-inducing. Without giving away the moment, it requires a leap in logic, a complete character meltdown, and a knowledge of mutant biology that few will find believable.
As the finale finally locates a level of dread, as Brody and Polley come to their senses and determine that something must be done about their abnormal abomination, Splice slinks into the standard scare stuff. But it's way too little, far too late. We expected more from a movie that wants to push the boundaries of what horror can and cannot tackle, especially within a scenario where science shows some incredibly misguided arrogance, and literally gets bitten by it as a result. Had it been true to its monster movie roots, it might have been more engaging. As it is, it's too much technology and not enough terror.
