Seed

what a waste of time! i do like horrors but this one is just no good. only thing thats OK is the suspense sounds and music...special effects and sounds when body parts brake is OK. The movie is also way to dark, and it's the wrong sort of violence! there is no story telling! even a 2.8 is to much for this! PLEASE, do not make any more of these! Hopefully the votes are enough to keep people from making this! Was there any type casting involved btw? Hope not..

If u need some pointers, just let me know.. Or watch some European movies first. Like 'rec'for instance..

thanks for trying

Ever since House of the Dead, I've actively sought out Uwe Boll films to see just how bad they are going to be. With follow-ups Alone in the Dark and Bloodrayne, there was an endless stream of badness to enjoy. I'm intrigued as to how the films fail to work despite there being a decent budget (low in Hollywood terms, but plenty to produce something effective), some occasional attempts at interesting camera work and genuine Hollywood talent involved. In all the films, the scripts are undeniably terrible, and as an audience you're never drawn in because at no stage do you care about anyone involved or anything they do. On top of the poor script, there is usually CGI and sound design that is quite simply not up to scratch and which therefore jars with an audience used to Hollywood standards.

It was with this view that i went along for the unmissable fun of a cinematic double bill of new Uwe Boll films at London's Frightfest. Having had Grindhouse pulled from UK release thanks to the bemused US reaction, 'Double Boll' presented the next best thing - 2 actual B- movies in a row. Postal came first and marks Boll's first professional foray into deliberate comedy, not very successfully, but that's another review... Up second, was Seed - as Uwe himself said, a film aiming for no sense of fun at all. It's essentially Uwe's entry into the current gorno/torture porn fad, and was partly motivated by the likes of Hostel not being as harsh as they were claiming.

The biggest shock i had during the film was when the credits rolled and i realised i'd just had an emotional reaction to an Uwe Boll movie that wasn't amusement or boredom. I had actually cared about the characters and had the distinct feeling i'd just watched a proper horror film.

Don't get me wrong, this film is by no means great, but it IS, unlike all the other Boll movies, a film that you can watch on a par with other Hollywood b-grade horrors. With films like Hostel you've got Eli Roth trying to make films as harsh as the old grindhouse/video nasty films of the 70s and early 80s, but Seed would actually be more at home in that era. It's no Texas Chainsaw, but it fits in with the original Toolbox Murders, Maniac or Nightmares in a Damaged Brain - films that presented real nastiness in a way that leaves you feeling, well, seedy. Like those films, the big moments are morally questionable - many will find the opening scenes showing real-life animal cruelty (footage obtained from PETA) too heavy with too little purpose, but personally I found they gave the film real edge - you lose your safety net of Hollywood R-rated violence and feel genuine revulsion. A later scene is a standout for on-screen nastiness and could have become one of the all time roughest gore moments if it wasn't partly let down by a bit of ropey CGI work. The ending too was a nice surprise and something that mainstream horrors rarely go for these days.

Boll-haters (and there's a planet full of those) are still going to find faults with Seed, and there are many, but it is in a class above all his previous output, and gives me hope that he will one day turn around his (undeniably impressive) poor reputation and produce material that is not only acceptable, but actually genuinely enjoyable. If he could just get his hands on a really great script who knows what could happen...

While Uwe Boll is a terrible technician this movie, like many of his others, has an amazing take home message and awesome aesthetic. I always feel that I could shoot this on my black magic. Yet you cannot underestimate how in touch he is with contemporary feelings.

Short Version: Seed isn't worthless. It's just derivative and inferior. And soulless.

Long Version: If you have never seen any of the films comprising the vaguely-defined "psychological horror" genre, this movie will probably melt your face off. Maybe not, but it will give you a good burn. The opening montage of real animal abuse will be sufficient to open your eyes to possibilities of brutality-on-video, and the (only) memorable gore scene later in the film will perhaps be more than you can handle. The climax will play with your emotions in a way that perhaps no other film has.

But that's if you don't have much experience with the genre. If you've seen the real thing..."August Underground's Penance," for example, you will, as I did, find it terribly difficult to stay awake until the end of the film.

Other reviewers have compared this to the video nasties of old. I understand this comparison. Like the video nasties, "Seed" is more violent than a mainstream horror film and less subtle. But the reason the video nasties are still known to us is not only for the above reasons--those that are still popular had something special. Permit me to be ambiguous, I think you will understand: those that have stuck around had "soul".

Take this quote from Gabriele Crisanti, director of "Burial Ground," on an interview on the new-ish DVD: "...we will never have more films like these, because today, technology has surpassed imagination. And technology is cold. So many things will disappear because small films like these won't be produced anymore. Today we have great, exceptional tricks that are very expensive, but they are cold. Today a horror, a terror film of this kind costs more than a million dollars. These films were not so expensive...they are real effects, made with our hands".

Perhaps it is wrong to take the comparison to old school horror so seriously. But Crisanti has hit the nail on the head. Even at their most seemingly exploitational, the best of the video nasties were pursuing a primitive "truth." And this is where Boll falls short. It's like he's seen the movies and not understood them. Everything on the checklist is there...BS about "making a statement about humanity," an obscene torture scene, etc. But it is, as Crisanti puts it, "cold." The gore is all CGI. The whole thing feels like scenes pieced together from other movies of various genres. And the pacing is sooooo slow. Man, so slow.

Another interesting note: the one gore scene really reminded me of a video game.

Anyway, enough BS. Weak movie.

Over the past year, Uwe Boll has shown marginal improvement as a filmmaker, cranking out the competent "In the Name of the King" (a "Lord of the Rings" clone) and the proudly vulgar, post-9/11 satire "Postal." But then came "Seed," and the counter was reset to Zero, keeping his bid for legitimacy and respect that much further out of reach. And I'm a fan of the guy–his films exhibit a uniquely screwball vision, and are never dull.

Spawned from his frustration over the savage notices his early films received, "Seed" is a colossally misguided attempt at social commentary, and an even worse jab at creating an iconic slasher mythology (Boll often seems to be taking a page from Rob Zombie's successful reboot of "Halloween"). The antagonist is Maxwell Seed (Will Sanderson), a mute, hulking brute who's slain 666 people and sits on death row, awaiting execution; after unsuccessfully frying the beast, he rises from the grave to seek revenge on those who put him there...and so begins a string of wholly gratuitous mayhem.

Trying to create a new-millennium slasher in the vein of Michael Myers or Jason Voorhees, Max Seed is too nondescript and boring to leave an impression, ultimately resembling a washed-up pro wrestler doing "The Toolbox Murders" on a succession of equally boring victims. Furthermore, Seed's character and Boll's "message" run contrary to one another: the death penalty is wrong, sure, but are we really expected to sympathize with a soulless killer who's left a couple hundred corpses in his wake? I think not.

Meanwhile, Michael Pare acts like a listless, long-lost brother to James Remar's character on "Dexter": a cop who sits at his desk a lot, thumbing through newspaper clippings, and watching pointless stop-motion scenes of decomposing animals and people trapped in Seed's lair. By the time he and a bunch of cardboard cops storm Seed's hideout, the sequence is so drawn-out, ill-conceived (the lighting is almost non-existent), and unexciting (despite a healthy dose of gore) that it almost put me to sleep.

The shoddy film-making isn't limited to just that sequence: "Seed" appears to have been shot by a drunken cinematographer, since the camera bobs and weaves endlessly, a technique that's more stomach-turning than the gore itself; these protracted takes of very little happening only draw attention to the meandering, almost non-existent narrative. At 90 minutes, the film is distended enough to be considered a form of torture, which might have been Boll's intent all along.

Pure genius...I guess the joke's on me.