Splice (2009)

Review by Sean Patterson



"None of her animal components have predatory characteristics." "Well...there's the human element."
Lost amidst the blockbuster sequels of the 2010 summer movie season, the smaller French-Canadian film Splice failed miserably at the box office. But for those fortunate enough to wander into the wrong theatre while looking for Iron Man 2, Splice provided a more suspenseful (and disturbing) show.
Clive (Adrien Brody) and Elsa (Sarah Polley) are a superstar scientist couple who run the N.E.R.D. (Nucleic Exchange Research and Development) lab. When their investors demand short-term profits instead of medical breakthroughs, the couple forge ahead in secret, creating an animal-human hybrid. The hybrid, whom Elsa names Dren, grows at an accelerated rate, becomming an adult (Delphine Chaneac) within weeks.
It's Frankenstein, and the story hasn't changed much in the nearly 200 years since Mary Shelley's version. Dren shows human intelligence and feelings, but is also decidedly animalistic, featuring many-segmented legs, a venomous spine at the end of her tail, and other surprising characteristics I won't spoil.
Dren must be hidden from Clive and Elsa's colleagues and employers, but as she grows and learns, that task becomes impossible. Dren's need for ever-larger living quarters and near-constant supervision causes trouble for their legitimate lab work, which manifests in a bloody and hilarious presentation to investors.
While Dren's growth and the surprises that entails provides the narrative thrust for this monster movie, it's the relationship between Elsa and Clive that the screenplay lingers on. Elsa has mommy issues that affect her parenting of Dren. Clive struggles to make decisions and take responsibility. The couple struggles over whether Dren is a person or experiment, and the idea of a post-natal abortion is seriously debated.
Polley and Brody successfully anchor the movie, believably acting as a nerdy couple who rationalize things most of us would consider simply, but inexpressibly, wrong. Dren comes to symbolize the unspoken rift the two must have harbored for years. Their work, their responsibilities, made flesh, binds them intimately while highlighting their inadequacies as caretakers and feeling humans.
But that's all below the surface. The philosophy in the movie is actually very shallow, mostly meant to disparage arrogant scientists who would "...make [their] own rules." Elsa and Clive are vaguely aware that there are moral issues associated with "playing God," but they largely ignore them. Although concepts such as personhood and the responsibility associated with creating life arise, they are quickly abandoned and overshadowed by horror show theatrics.
And theatrics they are. The CGI effects are passable and will eventually seem dated, but the makeup and monster effects are top-notch. No one iteration of Dren is too ridiculous. and the adult Dren is uncomfortably sexy.
Vincenzo Natali's direction is competent, and never overshadows the story. The requisite orange and teal color scheme for modern science fiction movies is prominent. The most impressive element of the production is the tight editing. This movie could easily have suffered from lingering creature sequences or bloody reverie. Instead, the pacing is steady and quick.
The music is appropriately ominous, instilling a sense of dread as Dren moves quickly from baby to child to teenager. Like most teens arising from a sheltered and abusive childhood, she begins to act out violently and sexually. The climax of the movie is intense and disturbing.
Splice is recommended for all fans of scifi, horror, and playing God.