Repo! The Genetic Opera

Darren Lynn Bousman has cojones. Big brass ones, it would appear, after viewing his twisted eclectic musical known as Repo! The Genetic Opera, which was given its world premier at Montreal's Fantasia film festival months in advance of its November release date.

The Director of Saw II, III and IV is hardly a person you'd associate with a rock opera, and when you factor in a cast that includes such artistic polar opposites as Sarah Brightman and Paris Hilton, you could be forgiven for feeling that the stink-o-meter would be going off the chart. And yet, it doesn't.

Set against a futuristic backdrop where an epidemic of organ failures is plaguing humanity, people turn to the unscrupulous Geneco Corporation to purchase replacements for their failing vitals. Not everybody makes good on their payments, however, which is where Nathan Wallace (Anthony Head of Buffy the Vampire Slayer fame) goes into action as one of Geneco's "repo men", brutally reclaiming defaulters organs at scalpel-point.

The movie has a visual style that both works to its benefit and runs against the grain of conventional movie telling (comic strip look, richly colored and stylized sets, heavily filtered camera shots) and much of the music is surprisingly good. Even those sung by Hilton, who blends surprisingly well into the mix as Amber, the vain, plastic-surgery obsessed daughter of Geneco's president (Paul Sorvino). While Sarah Brightman's career as a pop-opera singer makes her, on paper at least, the best casting choice, it's Head who's really surprising. Sure he an act, but in a movie with no spoken dialog he not only shows he can sing, but is actually able to change his vocal style from controlled, when in character as Wallace, to raunchy when he dons his Repo Man persona.

Among the movie's flaws is the performance of Bill Moseley (House of 1000 Corpses, The Devil's Rejects) as Luigi Largo, the scheming son of Geneco's president, whose singing talent can charitably be described as "lacking". Then again, considering the nature of the story, its roles, and ambitious scope, you'd have to expect that Bousman was going to break a few eggs en route to making his omelet.

The folks who run the hype machines at Lionsgate and Twisted Pictures are spinning this as another cult classic along the lines of The Rocky Horror Picture Show and Phantom of the Paradise. That's a bit much. Musical cult classics aren't instantly created, they assume that mantle as a result of fan approval, and the cultivation of a following – something not easily done given the demise of repertory cinemas and weekly midnight screenings. Right now such corporate accolades are nothing more than hyperbole. Even though a lot of the prerequisites are in place, only time will tell if Repo will allow Bousman to reserve a permanent spot shilling to character-dressed fans on the convention circuit.

Seriously your argument is flawed, which made me sign up just so I could challenge you.

1/10 seriously? Maybe this movie is not for everyone but a 1?

I am a fan of the movie - and have seen the director and writer talk at numerous events.

This script has been around for over 10 years. It has been a stage show; and before that it was a 2 man musical.

My point is, this 'thing', REPO has been around in some form of another since 1996.

If you did some searching, BIOSHOCK, which I have played, and love, was brought into the market in 2007.

While Repo was already in PRE-PRODUCTION which means already past script stage, and already green-lit by a studio.

And to end your argument, you say the creators STOLE the idea from BIOSHOCK? Are you really one to talk? I see you're from Turkey, and voting on REPO. Has the film been released in TURKEY? Or did you just download the movie illegally?

Get your facts straight before spewing your ignorance.

Such a movie gives me hope - that sometimes between all the remakes, prequels, sequels, reboots and directors cuts and whatever bores we still get now and then a gem to watch.

What the world needs are certainly more such fine imaginations like Repo! The Genetic Opera. Somehow the movie reminds me a little of The Rocky Horror Picture Show and that's for sure not the worst reference.

Well, the genetic opera is filled with fine ideas, gore, slash and some good songs. It is an explosion of blood compared with all the blood- and lifeless productions which flood the screens of cinema and all the networks nowadays.

If you like musicals and gore, this is made for loving you - and don't forget to watch The Devil's Carnival, also directed by Darren Lynn Bousman: a horror musical.

Fewer words, I imagine, strike greater fear in the minds of audiences and producers alike when the words "passion project" are thrown around. After helming three straight Saw sequels, long-suffering director Darren Lynn Bousman finally gets to cut loose creatively with his gory rock opera Repo, which evolved from a series of quickie stage improvisations courtesy of the film's writer/composers, Darren Smith and Terrance Zdunich. Unfortunately, the film turns out to be more Across the Universe than Hedwig and the Angry Inch, eager to please but ultimately less than enjoyable for anyone not a devout enthusiast of its chosen musical framing – except in this case, it's a nostalgia-fest for turn-of-the-90's goths instead of baby boomers.

Bousman, to his credit, assembled an intriguing cast: Buffy the Vampire Slayer's Anothny Stewart Head (a stage veteran who's also appeared as Frank n' Furter in Rocky Horror), Spy Kids star Alexa Vega, elevator-music superstar Sarah Brightman, renowned character actor Paul Sorvino (Law and Order, Goodfellas), horror vet Bill Moseley, and, in a shrewd bit of meta-casting, tabloid magnet Paris Hilton. In much the same manner that reading the cast list seems to create a logic fissure in the universe, the film's disparate elements never coalesce into anything coherent. Ostensibly an elaborate comment on consumer society and celebrity obsession, Repo seems to serve mainly as a hyperactive springboard for a filmmaker overeager to prove his uniqueness.

Set in a cartoonishly grim future, Repo revolves principally around Nathan (Head), a "repo man" who impolitely collects organs from hapless citizens on behalf of GeneCo (led by Sorvino's sinister, dying Rotti), a massive conglomerate that swooped in to commodify healthy organs following a deadly epidemic of organ failures. His daughter, Shilo (Vega), is ill with the blood disease that claimed her mother, and is kept in unwilling sanctuary in his home. Meanwhile, Rotti's offspring (Moseley, Hilton and Skinny Puppy's Nivek Ogre) bicker, in an obvious nod to King Lear, over which one will inherit their decaying father's empire. Oh, and somewhere in the mix there's also Mag (Brightman), a celebrity singer with GeneCo-implanted holographic eyes who's trapped in a dead-end contract.

If the plot seems needlessly dense, that's because it is, and the film is crippled at the outset by its ludicrous number of characters and plot threads, never to recover. This undercuts both the plot's coherency – already tenuous at the outset – and the integrity of the performances proffered by its diverse cast. Particularly wasted is Moseley, who brings his character to slyly sadistic life, but doesn't get much chance to develop in his eight or so minutes of screen time. Others get shoehorned into thankless roles – Vega, who has Broadway experience and shows evidence of being a capable performer, is saddled with a bratty, shrill heroine, and Sorvino, as the film's principal villain, is never able to find a consistent tone either of internal anguish or righteous indignation, largely because he's provided with a few too many motivations relating to nearly every other character. The supporting cast is uniformly competent – including the widely reviled Hilton – but none besides Mosely leave much of an impression. Head's "repo man" suffers most - his character enjoys his grisly work at some points and is disturbed by it at others, simply at the film's convenience, making him useless either as a figure of scorn or sympathy.

Smith and Zdunich don't only botch the film's plotting but also its densely arranged musical score, which spends most of its time occupying a confounding space somewhere between Ministry and Evanescence that simply shouldn't exist. Occasionally, a novel vocal harmony or passably funny lyric will arise (particularly in scenes where Head and Sorvino duet), but none of the individual songs are at all memorable. There's an opportunity for redemption in the film's embrace of over-the-top satire near the film's conclusion (featuring a memorable moment where Hilton's character loses face a bit) but ultimately opts for a lame, sequel-ready non-ending. For all of the film's references and targets, its Vaseline-on-the-lens aesthetics, leaden musical numbers and generally witless approach keep it from joining the ranks of the beloved "outsider" musicals its creators so obviously worship.

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I s**t you not, this really really is a musical (or Operatic) Horror film. Right from the start this film is bonkers but soo soo colourful and engaging - the opening credit's themselves should keep you hooked and wondering what the hell is going to happen in the film. I wasn't 100% convinced about the musical score but it wasn't at all out of place and did serve as great narrative drive as the film progressed. There are comic-book flashbacks which serve to keep this nerds taste buds moist.

The film takes place in 2046 in it's own Gothic and dark world - it's visually stunning and due to the complexity of the construct I can see a lot more films being spawned from this. Organ failure is a common problem and to assist civilization companies like GeneCo have been set up. GeneCo is a bio-tec company offering organ transplants for a cost, the largest company. For a price they will fix it's customers, but should they miss a payment the RepoMan will be sent to hunt them down to get GeneCo's product back. This is normal everyday life for a culture addicted to painkillers and medication.

Anthony Head is the RepoMan, contracted by Paul Sorvino's Rotti Largo character in an almost Faustian pact to repossess organs and limbs of people unable to maintain payments. This is the deal for Head thinking/assuming that he killed his wife and Rotti lets him continue believing this. Meanwhile Head's daughter Shilo (Alex PenaVega) is struggling with life growing up with a degenerative disease which will ultimately kill her. Shilo has her own adventures but will cross paths eventually with the Largo family members and some home truths about her childhood. The Largo kid's (Paris Hilton, Bill Mosely, and Nivek Ogre) are all fighting for the power to control Largo Rotti's GeneCo empire. A chance encounter allows Shilo to meet Blind Mag (Sarah Brightman) who helps assist Shilo discover herself and the deals which were made when her mother dies and the RepoMan was born. The climax of the film is a brilliant fight scene/opera song worthy of any musical.

I recommend this film highly to anyone similar to myself who likes brilliantly bonkers spectacular movies, who might just have a penchant for horror or the occasional musical - FTR this is not as 'camp' as you'd expect from a musical, sure it's got songs to replace speeches but it works extremely well and you may just find yourself humming some of the songs after the credits have rolled. If you enjoyed "The Rocky Horror Picture Show" or "Sweeny Todd" this is a natural progression and you will not be disappointed. A total departure from what I'd expect the director of 'Saw' films to make but well done Darren Lynn Bousman, I take my hat off to you.

I can see this film being a cult classic and shown on many midnight Halloween film events. It's extremely original, it's visually stunning, and direction and production values are extremely high. Casting is brilliant and you'd normally expect such big names to get more screen time, the complex relationships between characters is explored via comic style flashbacks which just add to the beauty and appeal of this film. I really can't say enough superlatives about this film, just leave expectations at the door and let the film's world immerse you in itself.