Vincenzo Natali’s “Splice” was one of my favorites of 2010. It’s a surefire Frankenstein tale about two scientists on the precipice of creating not only a brand new species but a brand new gender. When they venture in to the depths of their scientific realm and work outside the confines of their regulated laboratory, they soon discover that they’ve created the ultimate being. Named Dren, she is a pure unadulterated force of nature, both of the emotional and the sexual. What begins as a science experiment gone awry soon turns in to a clear cut case of God Complex coming in to fruition as characters Clive and Elsa (ignore that clunky reference, and you’ll be fine) attempt to create a life, still stifled by their ability to do so in a relationship filled with ambition and mutual respect, but little to no intimacy.
Vincenzo Natali’s science fiction Frankenstein tale of 2010 may and will eventually be misunderstood by a greater portion of the movie audiences expecting a simple monster flick about an experiment gone awry. While in essence it is just that, “Splice” is much more an on the nose satire of parenting and the intervening of the drug industry raising children, and the dynamic between father and daughter and mother and daughter. Ultimately while sometimes absurd and just filled with dark twisted humor, “Splice” offers the question if children are born and develop in to chaotic monsters, or if their parents and their own insecurities and misery eventually turn them in to such beings. What starts out as two scientists forming a bond with their own special creation turns in to a battle between two feminine species for the love of a man who begins to form unusual and abstract feelings for the both of them.
The folks at Sinema Saliba manage to concoct an interesting indie experimental anthology film around the theme of Frankenstein and rebirth with a series of short films that dabble in narratives revolving around mortality and death all of whom vary in tones of artistic to the utterly absurd. Director Matthew Saliba pulls out all the stops for this anthology picture that deconstructs the tale of Frankenstein and sets the framework down in assorted set pieces and flavors that help this movie feel like a varied buffet of vignettes that will manage to perfectly entice the viewer’s imagination and rethink the concept of the mad doctor and the monster.
“Frankenstein’s Bloody Nightmare” basically has its head on tight with intentions of being both experimental and surreal, and in many respects, Director Hand knows how to convey both a nightmarish and surrealist theme with a hazy picture that drifts from plain and sterile to multi-colored and intense. Hand’s film has a very noticeable Lynchian feel as yet another take on the Doctor Frankenstein character. Hand’s film is a pure mixture of sixties psychedelic grind house exploring the sheer utter madness behind a man seeking to help his wife.
What I always enjoy is the schlock brought upon us by new directors that take it upon themselves to carve their own pastiche with films that both spoof yet pay respect to the films of old that audiences are no longer interested in. What William Winckler does or tries his hardest in doing is both spoofing the classic horror film while paying his own homage telling this story that is both simple but entertaining. “Blood Cove” is often cheesy and goofy, but that’s the intent, its low tech in many respects with the creature’s monster suit and the Frankenstein make-up.