Splice - Das Genexperiment

Clive Nicoli (Adrien Brody) and Elsa Kast (Sarah Polley) are scientists of the Newstead Pharmaceutics researching the splice of DNA from different animals to form new genetic beings and find medical benefits to mankind. They have just created the hybrid Ginger and Fred and now they intend to join together human DNA to alter the genetic structure of their experiment. When the senior management calls off their experiment, they decide to secretly proceed and they generate a life form with human characteristics. They call it Dren (Delphine Chaneac) and Elsa is very fond of their creation that grows up fast and showing intelligence. When the company shutdown their experiment, they bring Dren to Elsa's abandoned farm and the scientists raise Dren like a daughter. But when it reaches adulthood, the sex drive of Dren is activated and Clive and Elsa learn that they have a serious problem to resolve.

"Splice" is a dramatic sci-fi horror film with the story of two young unethical scientists that decide to play God. The plot is unoriginal but is attractive and engaging, specially because the trio formed by Sarah Polley, Adrian Brody and Delphine Chanéac. The childhood trauma of Elsa is absolutely out of the context and a diversion to the mainstream. The special effects and make-up are awesome, transforming the gorgeous French actress Delphine Chanéac in a creature with an exotic beauty. My vote is seven.

Title (Brazil): "Splice – A Nova Espécie" ("Splice – The New Specie")

Splice was a movie that had a lot of promise. It seemed to be building towards something special, but got lost in an unnecessary plot thread that didn't quite work towards the end. THis specific plot started with a scene involving the creature and the character played by Adrian Brody, and it was a scene that didn't quite work because there wasn't enough of a build up towards something like that happening. Sure there were some scenes leading towards that, but in my opinion those scenes were not enough to take such a major step forward, not after he first showed disgust towards the creature at the earlier phases of its development. On top of that the movie goes even farther into absurdity at the conclusion, involving the character played by Sarah Polley and the creature again, taking much of the intelligence of the film out of the equation.

In my opinion, the director was onto something in the beginning but then took the story into an unnecessary direction that might've still worked if there had been some real build up to those points which led to the conclusion. Sure there were some signs, but really not enough. Instead the movie ends in what can only be called a total WTF moment, and it doesn't work at all. Not a horrible movie, but only average and not recommended.

Three fourths of these reviews hate the movie and whine about the idiot decisions of the scientists. Well of COURSE they made idiotic decisions! Where's the film if they made perfectly sane decisions? What kind of film is that?

I actually thought the film was effing brilliant. I think it took a familiar premise and retooled it. The performances of Adrien Brody and Sarah Polley were exemplary, as always. I saw it for Sarah Polley as she is one of my favorite actors and one of the most underrated ones out there today. The actress that played Dren was also strong and had the perfect mix of human, alien, and innocence.

The film addresses many scientific issues, but does so with a moral and emotional center. I like that the film doesn't pull punches and I like that there are consequences for the actions of the scientists. I thought the complex relationship of the couple and their creation was skillfully rendered and and excellently acted.

Was it flawed? Sure. But it was also really kick ass and I'd see it again in a heartbeat.

If you want your horror sci-fi movies neat and tidy and pedestrian this probably isn't for you.

James Whale's 1931 adaptation of Mary Shelley's "Frankenstein" was one of the earliest films to chronicle man's quest (via science and nature, and in notably strict defiance of God) to literally create life by transgressing human reproduction; granted, the result was the hideous, hulking visage of Boris Karloff, but one couldn't help but be in awe of the sheer gumption of Victor Frankenstein and his accomplices. Roman Polanski evolved this idea (via adaptation of Ira Levin's novel) in "Rosemary's Baby," which took the notion of creating something truly awful (the son of Satan) and using it as a metaphor for a woman's self-destruction and paranoia during pregnancy. Larry Cohen's "It's Alive" took contemporary paranoias of a carcinogen-engulfed atmosphere and nuclear proliferation and applied it to his own murderous, bloodthirsty infant. And rounding out this prolific bunch is David Lynch's "Eraserhead," a hauntingly surreal horror film that not only presents parenthood with fearful uncertainty, but treats acts of sexuality and procreation with a metaphorically clinical (but never explicit) disgust.

Vincenzo Natali's "Splice" falls somewhere within this noteworthy pantheon of mad science, moral/ethical conundrums, and icky special effects. Many have already drawn comparisons (both positive and negative) to the early, mutation-informed works of Canadian auteur David Cronenberg, but Natali is just as interested in exploring the questions under the surface as he is showing an astutely creative visual eye. For a while, the film plays like something closer to an art-house feature (especially given the presence of character actors like Adrien Brody and Sarah Polley) with intriguing ideas and a solid FX budget. There are missteps along the way, but for the most part, this is a solid little sleeper.

Clive (Brody) and Elsa (Polley) are young scientists who have made a breakthrough in artificial life: two blob-like creatures (one male, one female) with the ability to manufacture an artificial protein for the purpose of nourishing livestock. In typical, business-first fashion, their corporate overlords marvel at the notion of mass-manufacturing it, and promptly reject Elsa's proposition of human experimentation (to cure genetic disorders). Driven by curiosity, the duo wind up creating Dren (Delphine Chaneac), a creature whose accelerated life cycle prompts the creepily maternal Elsa to keep her as part of a more personal "experiment." "Splice" contains subtle, well-played allusions to bad childhoods, long-term psychoses, and the shifting roles of parents in the eyes of children (Clive starts off as vehemently oppositional; later, he becomes a reluctant accomplice who ultimately develops a bizarre affection for the creation), not to mention the tension between parents amid the child-rearing process; watching this trio interact supplies most of the film's compelling, hypnotic moments. This deliberate pace and focus on character may prove off-putting to horror fans sold on the ADHD weirdness of the trailer, but those with open minds will find much to gorge themselves on.

Despite all the admirably creative spins on familiar concepts, Natali (or perhaps the producers, action aficionado Joel Silver being one) run out of fresh material by the climax, which takes chase clichés and overdone monster effects down a road that exists solely to patch up some character arcs and drum up excitement in a blandly conventional way. That being said, the first 3/4 of "Splice" is such a surprisingly effective slow burn of suspense and dread (culled from universal hopes and fears), played out by actors who know the fine line between camp and creep, that its later machinations are pretty easy to forgive.

6.5 out of 10

Splice is a tricky picture to evaluate, for its ideas are superb. One could argue that it brings a new petri dish full of meddling scientists facing the consequences of their actions, while conversely it justifiably feels like a Cronenberg knock-off.

Psychological discord is in abundance, with its slants on skew-whiff parenting giving the pic a dark fascination, and as unpleasant as the male fantasy angle is, it does hold a morbid interest factor.

Yet come the final third the makers let things run away from them, the bonkers dangers of tampering with science giving way to daft schlock, even managing to be distasteful in the process - while the finale is a weak attempt at a "TBC" cliff hanger.

Lead cast members are turning in good perfs. Adrien Brody and Sarah Polley as the meddling science couple hold court well, and Delphine Chaneac as the Chimera splicer of the piece really nails all the various emotional strands required for a tricky role.

Director Vincenzo Natali has shown with Cube and Cypher he has something to offer the horror/sci-fi splinters of film, but this is a mixed bag. A film of great ideas let down by overheating the plot for shock values, while the levity inserted into the play is misguided and damaging for dramatic worth. 6/10