Perfect creation How many times in the cinema, experienced technicians and mad scientists did not try to grow something magnificent, with good goals, as many times this something fell into rage, escaped and spoiled the life of others in all possible ways. The painting by Vincenzo Natalie tries to somehow dilute the genre with its existence, scraps of phrases, hinting at some new motives, and in fact makes a big leap from “My Fair Lady” to “Jeepers Creepers”.
Heroes Adrian Brody and Sarah Polly are grown in the laboratory of creepy creatures, in order to synthesize protein. Developments are quite successful, and the long-awaited experiments on human DNA are soon embodied despite moral and ethical principles and official prohibitions. Some time later, this perfect creature gets out of control, bringing fear and horror, as befits in good horror.
The situation is aggravated by side semantic lines that address child abuse, incest and the so-called Electra complex. All this is superficial, barely distinguishable and clearly does not require analysis. The only question raised by the film is whether the sex scene between the creature and Brody's character is zoophilia or incest. Otherwise, “laboratory horror” is simple as two pennies, from start to finish, predictable and easy to serve. The emphasis on horrors is achieved by a separate exploitation of known methods, whether it is a large-scale bloody mess or a sharp dragging the character somewhere upwards, winged by the creation of human experiments.
Vincenzo Natalie plays with family acute problems, against the background of the experiments of scientists, and it is clear to the naked eye that the film was supposed to delve into key thoughts, but elementary confused, just like its characters. As a result, in a pile of deaths, no one is even sorry, there can be no talk of drama and seriousness, and the final “jeepers-creepers” is perhaps the only reason why the film was worth watching at all, in order to imbue with at least some details of the atmosphere. At the same time, the visual part causes delight: the performance of monsters, makeup and graphics, each correctly constructed angle, beautiful scenes of eroticism. However, the visual potential is not as wide-spread as this film could potentially grow. It lacks something that can hook, brightly and effectively cut into memory and make you watch a similar movie again. Dren herself, although she has some chances to acquire cultism, as an original new movie monster, but still the film is unlikely to cause the desire to watch it again.
And for once it is quite decent entertainment horror, made qualitatively and made according to all the canons of its own small sub-genre about such experimental creatures. And there is no need to dig deeper where they simply forgot to bury something concrete, scattering an attractive heap of novelty and versatility of the semantic basis outside. It's a good horror story, no more, no less.
7 out of 10
Original