![]() Every emotion, thought, and message DREN needs to communicate is handled perfectly by Chaneac through facial expressions, head angles, twists/turns of her shoulders, and a host of other acting techniques at her disposal. She doesn't speak a single line of dialogue-and she doesn't have to. The musical score also works very well.įinally, a word must be said about French actress, Delphine Chaneac, who plays the adult DREN with finesse and depth. The movement of DREN (especially as a child) and the full body shots of her as an adult are incredibly realistic and tantalizing to the senses. And the special effects, based on Computer Generated Imagery (CGI), are quite good. We also have the topics of insanity, child abuse, fidelity, and love mentioned to varying degrees-and these will make the careful moviegoer pause to think.įrom a technical standpoint, the film is fairly well made. For example, the obvious moral/ethical questions are raised repeatedly, which gives viewers food for thought as the story evolves. ![]() And it ruined what could have otherwise been a halfway decent sci-fi film.ĭespite the movie's most serious flaw (i.e., the depiction of DREN's sexuality and its place in the story), it includes some interesting sub-themes and subplots surrounding the characters' lives. In fact, at several points during scenes that should have been serious and charged with sexual tension, the audience in which I was seated couldn't help but laugh! The action and dialogue were absurd. The movie loses all intensity, realism, and drama. Rather than being erotic, these scenes come across as just comical. Its weakest segment, oddly, is when the overtly sexual aspects of DREN become part of the main plot. But as soon as she begins to grow rapidly, we are given a hint of what is to come via Elsa's question: "What the h*** is that?" Clive answers, "A bad mistake." Things quickly go from bad to worse as DREN develops into a woman within days, complete with a stinger-tipped tail, a pair of remarkable wings, incredible intelligence, some inherent emotional/psychological problems … and a desire to mate.Īlthough not a terrible sci-fi film, Splice is unoriginal, as well as inconsistent. ![]() Their human/animal hybrid experiment, DREN, much to their shock, is a success. Predictably, the ambitious couple decide to go forward on their own, minus all prescribed safeguards. The company only wants a specific protein identified for their own uses. But the pharmaceutical company for which they work is not interested. Clive and Elsa are elated at their success and can't wait to take their experiment to the next level by splicing human DNA with animal DNA. Splice (directed by Vincenzo Natali, Cube) opens well, with eerie video footage from inside the faux-womb of a new life form being grown by scientists Clive Nicoli (Academy Award winner Adrien Brody, The Pianist) and Elsa Kast ( Sarah Polley, Dawn of the Dead). ![]() The most striking difference between the two films, however, is that Splice is simply not as good as Species. Splice is a near carbon-copy of that plot, except for a few changes: the evil government has become two likable, thirtysomething scientists (who are also lovers) the alien DNA has been changed to animal DNA and SIL has been renamed DREN. Species (1995)-starring Sir Ben Kingsley ( Gandhi) and Forest Whitaker ( The Crying Game)-presented the story of government scientists who had spliced together human DNA and alien DNA to create a hybrid female named SIL. Rating: R (for disturbing elements including strong sexuality, nudity, sci-fi violence and language)Īctors: Adrien Brody, Sarah Polley, Delphine Chaneac ![]()
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