Splice Review

Splice (2010)

In what has otherwise been a dull, mediocre summer movie season, Splice is a disgusting little surprise. Vincenzo Natali, clearly inspired by the works of fellow-Canadian David Cronenberg, has made a refreshingly original creature feature that is disgusting not because of the violence it depicts, but because of the fleshy creepiness of its human-animal clone, Dren. The look of Dren results in a similar effect as realistically computer-rendered human characters: human, with something wrong, as opposed to not-quite human. Studies have shown that the former creeps people out on a subconscious level. Maybe that is why the well-reviewed film attracted only a meager audience on its opening weekend. It is a shame, however, because I would much rather watch horror films like Splice than remakes of ‘80s movies that were not that great to begin with.

Sarah Polley and Adrian Brody play scientists (and romantic partners) at a gene splicing research lab. They have created a new animal by splicing together various parts of various genomes from other animals. A parent drug company is funding this operation because they seek a protein which may be synthesized from these new animals to help treat and maybe cure a number of high-profile illnesses. This, in effect, solves the ethical dilemma of whether to use live animals, or even humans, for this type of intrusive medical testing. Rest assured, this is the simplest ethical dilemma that the characters will face is a series of progressively more disturbing ethical dilemmas. The film never shies away from forcing its audience to consider difficult moral questions, and cleverly plays with what we consider human qualities.

The special effects are spectacular, especially considering how small this movie’s budget was. Splice is an example of filmmakers using computer effects to serve the story, not to wow us with technical brilliance. There is a real actress playing Dren. The effects department widened her eyes, removed a finger from each hand, and added a tail and alien feet. But Dren still looks very human. So human in fact that it is easy to sympathize with the characters’ inability to kill the creature even though they know that they have created something very dangerous.

The actors sell the film. Each character has a surprisingly complicated past which is revealed subtly and intelligently. I never felt like character exposition was being forced on me. There was no scene devoted to a character finally revealing the secrets of his troubled past, written primarily to fill time between action sequences. Sarah Polley and Adrian Brody have chemistry together in their own quirky, nerdy way. Cube’s David Hewlett has a scene-chewing role as the boss of the genetic splicing company.

The film has some spectacular sequences, including a press conference from hell. But it remains restrained and never quite takes its premise or creature as far as it could. The movie remains firmly grounded in the human characters played by Polley and Brody. For the most part, this is a good thing; however, it would have been interesting to learn more about how Dren thinks and feels. Most of its reactions, behavior, and extra-sensory talents are left unexplained. But this also makes Dren more unpredictable and more frightening. We never know what it is fully capable of.

The third act features some character decisions that are hard to swallow and ends with the obligatory chase through the woods. It is easy to feel disappointed with this resolution, but, thematically, the final twist and turns make good natural sense and are satisfying enough to prevent the third act from destroying an otherwise intriguing and thrilling film.

The final verdict: Splice is a smart, gutsy thriller that is as refreshing as it is unconventional. Splice is the type of horror film that horror fans should be supporting.