SPLICE

SPLICE (Rated R for adult thematic material, brief sex, some partial nudity, profanity):  And now for 105-minutes of something completely different.  This amalgamation of science fiction, horror, perverse romance and bio-chemistry definitely doesn't follow the usual pattern for a traditional horror flick.

This smart, generally well acted treat for sci-fi fans begins with Clive (Adrian Brody) & Elsa (Sarah Polley) as a couple of bio-chem scientists with ambitions that extend beyond their normal job to experiment with the cloning of hybrids of animals with human DNA.  Their efforts pay off in the creation of a noisy, rambuncturous blob that grows from a half animal, half female baby into a strange, irrational woman that communicates that clicks, cries & whines, throws terrible tantrums, and, later, develops unusual intentions toward both its "parents."  What comes of playing God is just dessert, resulting in a terrifying, ghoulish situation - Mother Nature reacting invectively.

Once the overtones (reminiscent of David Cronenberg's devices) are done with, we are treated to a "stylish thriller" fraught with Freudian overdoses. 

The experiments take place in a remote farmhouse where Elsa grew up unloved & unhappy.  Her need for more than mere genetic success becomes subservient to her emotional needs.  Actually, similar desires are aroused in the mutant for both Clive & Elsa.  Whoa there!  Weird doesn't describe it fully.

What makes this Canadian/French production (in English) so effective is the result of a solid cohesion among cast & crew.  With a tight script from Doug Taylor, Antoinette Terry Bryant & director Vincenzo Natali, shot with a keen eye for stunning, horrific photographic touches by Tetsuo Nagata, backed by equally horrific music composed by Cyrille Aufort, all edited to make the most of each horrific scene by Michelle Conroy - the chills, laughs, shocks and much terror attack us - winning "Best Special Effects" at the Sitges Film Festival for a lengthy list of CG people who created a series of blob-like failures, then the development of the most successful effort - the mutant:  beautiful face, quizzical expressions, bald, female upper limbs, chicken-like legs & a hideously dangerous tail.

The dialogs, comprised mostly of arguments between the two, are obviously improvised, resulting in awkward gaps & unnecessary pauses that tend to slow down the normally rapid pace.

Aside from that, there is Polley as the most complex character in the film, and Brody (who seems to be trying too hard to ad lib thrugh his difficult role, but later to fall more appropriately into it as the strange trio relationships develop).  Delphine Chaneac's mix of confused, petulant, pliant emotions as the adult mutant is remarkable to behold.

The movie's images, sounds, off-kilter plot and kinky devices, by film's end, rise up to overwhelm, and the feeling of shock lasts a long time after leaving the theatre.  Oh, those Canadians really know how to stylize the perverse and make it seem almost normal!  This is a film only for those willing to accept originality dressed in an excellent production.  (Grade:  B+)