Review: SPLICE; a word of caution about ideas in the wrong hands

Graphic and fantastical, it's not as such a polemic against science but is a caution against ideas being in the wrong hands.

By Mark Clark /

rating: 4

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Vincenzo Natali, the director who gave us the Philip K. Dick-ian exploits of 2002€™s Cypher turns to a more visceral and darker form of sci-fi with his latest, Splice. Taking it€™s cue from current, and future, scientific experimentation into human and animal genetics, the atmosphere and great physical SFX owe a fair nod to the daddy of intelligent body-horror, David Cronenberg. But Splice isn€™t a soft-retread of someone else€™s back catalogue, it€™s an original and entertaining mixture of scientific arrogance, the frightening banality of the corporate bottom-line, some twisted oedipal greek tragedy, and good old monster mashing. Clive (Adrien Brody), and Elsa (Sarah Polley) are a couple of up and coming geneticists, and a romantic couple to boot, who are on the cusp of both experimental and commercial success with their manipulation of animal DNA into brand new life-forms. Life-forms called Fred and Ginger who, although lacking a little in the sophistication stakes, would make Craig Venter throw his toys out of the pram and straight into orbit. Fred and Ginger are the investment show ponies €“ physical representations of future gene-based cures, and patents. But in order to keep some balance in the human / life-form stakes the film starts with a neat Fred eye view of actually being brought into existence, and happily concluding with some tenticular imprinting with Ginger. These aren€™t just cash-cows but living entities. Of course, this being somewhat of a cinematic warning sign things aren€™t going to go quite according to plan, and for those with a liking for gruesome disfunction the Fred and Ginger show takes on a surprising twist. As for the scientists, the intellectually combustible mix of Elsa€™s glimpsed, damaged childhood, her subsequent reticence to commit to Clive€™s questions about children, and the drive to create scientific firsts causes Elsa to go beyond their theoretical ideas about animal/human hybridisation and into the freakily actual. The result of which is the creature/character of Dren (fantastically played in adolescence/adulthood by Delphine Chanéac). It€™s this unplanned addition to Elsa€™s and Clive€™s family unit that exposes the dangers of a scientific community€™s potential for jumping into the unknown with both feet and a blindfold. Trying to manage the care and development of a normal human being seems difficult enough, but a being that rockets through life stages at super-speed and has an un-nerving capacity to develop the odd, unforeseen physical €˜augmentation€™ takes parenting to a whole, new level. Throw in the emotional and it€™s not only new, but nightmarish. Brody, who can also currently be seen in the decidedly different sci-fi extavanganza Predators, gives a typically assured performance, moving skilfully from moral authority to defective parent, and with Polley as the mother figure reflecting her own past onto their hybrid offspring, they create a real human dynamic in the film€™s twisted unreality. They€™re helped by some superb creature effects from KNB, the mixture of as much physical effects work with the unavoidable CGI apparently a must for Natali. I may sound like an apologist for old-school film-making but there€™s nothing quite like the interaction between actor and goo to draw you into a scene. Natali, who co-wrote the screenplay with Antoinette Terry Bryant and Doug Taylor, also has the rare knack for taking a big idea, twisting it with a bunch of sub-strands, but still managing to condense it into an accessible and involving package, and Splice is no exception. That may seem like an element of €˜how to make a move work 101€™, but as any of us know from our mountain of movie watching, it€™s obviously a lot harder than it looks. True, some elements of the story may be easy to spot before they€™re revealed, but it doesn€™t detract from the story€™s forward motion. You find yourself asking if they€™re really going down that road, knowing full well that that€™s exactly what they€™re going to do, and then waiting fixedly for the horrific result. Although Splice is a tragedy of scientific error, it€™s not a polemic against science, and in particular, the never-ending debate about genetic manipulation. It does give a very graphic, and fantastical, display of what can go wrong, but in reality it€™s a caution against ideas being in the wrong hands, not the ideas themselves. Be they success-hungry pioneers or the corporations that want to exploit their experiments. When Clive distils his motivations into the phrase €˜Wired don€™t interview losers€™, it probably is time to start ringing the warning bells. Splice opens in the U.K. tomorrow.