Splice

It’s not science fiction…well, not entirely. “Splice” is most easily described as part thriller, part horror, part Sci-Fi, and partly disturbing. Set amidst the backdrop of cloning, stem cell research and the like, “Splice” has an eerie tone that carries it’s intriguing story nearly to the end, but evolves into something else we weren’t expecting, and, frankly, most won’t want it to be.

The story revolves around two scientists (Sarah Polley and Adrien Brody) who are working on cracking DNA coding in mutated organisms that can enhance the livelihood, health and output of farm animals, particularly cattle, but are also working toward incorporating human DNA to help solve the mystery to, and eventually cure, genetic diseases. Their budgetary issues and shareholders, however, force them to focus on the former, but in an attempt to see how far they can push science, they begin working on, or “splicing,” something else in secret, and what they create is something that is not human, nor is it an animal. It’s a deadly mistake.

There’s a strange draw to “Splice.” One could compare it to films like “Species,” but it hits a niche with its technical expertise, beautiful CG, an intriguing story and tense underlying tone that make it a creature all its own. It relies heavily on the acting of Polley and Brody, who’s romance evolves just as the creature does and becomes more strenuous as “Dren” becomes more and more an obstacle and intimate interference in their lives. The visuals are stunning, the connections between the characters are endearing, and, up to a point in the film, it’s incredibly plausible.

These factors are countered negatively by a deeply disturbing dénouement, however, and most of what you may love about “Splice” will be forgotten in sheer disgust. It’s capped with a fascinating conclusion, one that makes you think, but it’s only a cherry on top and can’t make up for the gruesome scenes preceding it.

Splice’s problem is that, like the scientists it portrays, it keeps pushing that line it shouldn’t cross, until suddenly it’s so far over the line we can’t even see it in the rear view mirror. Up until a point, you’re may be willing to suffer through the language (7 GD, 3 profane uses of “Jesus,” 8 s-words, and upwards of 19 f-words) for the story that’s being weaved, but then it becomes too much. After a short sex scene between Brody and Polley (which is fairly short and clean), there are two others involving the creature, one of which involves partial frontal nudity of the female creature (although the nudity isn’t the main concern). This includes a scene at the end where Polley is raped by the creature, ending all hope of redemption. Although these scenes aren’t extremely graphic, the ideas behind them are, nonetheless, disconcerting. The language is enough to make you wince, and the sexual content is enough to make you squirm for days.

“Splice” isn’t a total loss. It’s beguiling at times, and charming and appealing in others, but when the gloves come off, you’ll wish you could do more than simply cover your eyes. Perhaps hindered by the unwritten “2 hour long rule” in Hollywood, the writers (including director Vincenzo Natali) seemed to run out of steam in the final act, almost as though they knew where they wanted to end it, but just could not figure out how to get there. So what is “Splice”? Well, it’s not terrible… not entirely, but it’s certainly not entirely entertaining or wholesome either.

Violence: Heavy to Extreme / Profanity: Extreme / Sex/Nudity: Extreme

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