Tag Archives: Adrien Brody

CAPSULE: SPLICE (2010)

DIRECTED BY: Vincenzo Natali

FEATURING: Adrien Brody, , Delphine Chanéac

PLOT: When two geneticists (Brody and Polley) mix some human DNA into a cloning

Still from Splice (2010)

experiment, they end up with a rapidly aging chimera child whom neither of them can control.

WHY IT WON’T MAKE THE LIST: Despite some bizarre mutation imagery, most of the film remains solidly within the realm of the horror-infused family melodrama, and tends to be more icky than weird.

COMMENTS: Canadian writer-director Natali, best known for his low-budget thriller Cube, has created a love letter to mad scientist stories, from Frankenstein to Cronenberg’s The Fly.  All the expected clichés are present and accounted for, from the sterile, blue-tinted milieu of industrial science right down to the Jurassic Park-worthy mantra of “What’s the worst that could happen?”  In Splice, however, these trappings are refashioned to create a demented parable about the dangers of bad parenting, and much of the film’s commentary in this vein is delightfully on-target.  The scientific method gets entangled with the geneticists’ emotional hang-ups as they try to raise the part-human Dren (Chanéac).  This results in hilarious exchanges like one where Brody cries, “Specimens need to be contained!” and Polley responds, “Don’t call her that!”

However, as the story moves from the laboratory to a rural farmhouse, the film realizes its unpleasantly taboo-violating trajectory.  From there on in, the film trades its humorous insights in for gross-outs and gore, with a climax so unnecessarily vile it makes you want to take a shower while bemoaning its reductive view of gender. Still, Splice has a lot to offer the weird movie fan, as certain images, such as a press conference that becomes a bloodbath or Dren’s development into a bald, feral adolescent, won’t soon be forgotten.  Like his characters, Natali is a kind of mad scientist, deftly integrating the pains of child rearing into an age-old sci-fi premise; maybe next time, there’ll be a little more method to his madness.

WHAT THE CRITICS SAY:

“It’s fascinating, sweet and especially grotesque – a distorted aspect of an overall analysis of post-millennial parental fears – all at the same time, and makes for some utterly bizarre imagery. In fact, I think I can say, without a shred of hyperbole, that this movie has some of the strangest moments you’ll see on film this year. If not in the next several years. Or maybe you’ve already seen a man dancing the waltz with a beautiful woman who is reverse jointed, has a mirror effect face, a monkey’s tail and a scorpion’s stinger?”–Nick DaCosta, Eye for Film (contemporaneous)

CAPSULE: THE BROTHERS BLOOM (2008)

threehalfstar

DIRECTED BY:  Rian Johnson

FEATURING: Adrien Brody, Rachel Weisz, Mark Ruffalo, Rinko Kikuchi

PLOT:  Bloom is the passive brother floating in the wake of his older sibling Stephen, a

Still from The Brothers Bloom (2008)

Dostoevsky among con-men, who devises one last elaborate grift to rip-off a pretty, rich and very eccentric widow.

WHY IT WON’T MAKE THE LISTQuirky, not weird.  For the weird fiend, watching a film like this is the equivalent of taking cinematic methadone while waiting to score some big-screen bizarre.

COMMENTS:  Though supposedly set in Montenegro, Prague, Mexico, St. Petersburg, and on a luxury steamer crossing the Atlantic, the real action in The Brothers Bloom is set firmly in Hollywoodland, a mythical, ultra-sophisticated realm where con men dress in pinstripe suits and bowlers to keep a low profile.  Our guides through this wish-fulfillment landscape of daring capers and champagne breakfasts are as quaint a collection of quirks as one might expect to bump into outside of a wine and cheese party held inside Wes Anderson’s noggin: Stephen, a master grifter who writes real-life dramas for his marks designed not only to make him money, but to keep them happy by fulfilling their need for romance and adventure; Bloom, a mopey soul who has lost his own identity through playing out Stephen’s scripts since childhood; Penelope, the socially backward heiress with a prodigal talent for absorbing other people’s skills, whether juggling chainsaws or making cameras out of watermelons; and Bang Bang, the nearly mute Japanese munitions expert, the screenplay’s most original invention and the one character who leaves us wanting more.  The cast does well, especially Brody as Bloom and a bubbly Weisz as Penelope (though however eccentric and awkward she might be, one has to seriously suspend disbelief to imagine that this pretty and very wealthy young thing isn’t swamped with suitors and hangers-on).

The con game is one of the toughest scripts to write, depending on its ability to surprise viewers who’ve seen many a twist ending in their day, and Johnson makes the task even tougher on himself by raising expectations and promoting his guys as the best in the business. In the end the final execution of the game doesn’t surprise, but the alert viewer has lots of fun along the way playing the multiple angles in his head, imagining possible double crosses as new players come into the field. The film runs out of gas before the end and sputters through a disappointing and overly sentimental epilogue/fourth act, but it doesn’t erase the enchantment built up until that point. A whiskey drinking camel and some interesting live action puns round out the fun.

WHAT THE CRITICS SAY:

“‘The Brothers Bloom’ is set on a planet somewhat like our own, but far wackier… The movie is wonderfully weird.”–Kurt Loder, MTV