However, the combination of CGI and practical effects used to bring her to life works, thanks to the top-notch work of Greg Nicotero and Howard Baker.Antoine Fuqua, Apple TV+, Emancipation, Will SmithĪfter much speculation over the release date of Antoine Fuqua’s Will Smith-starring Emancipation, Apple TV+ is making something of an awards season play and has dated the film for December 2 in theaters and December 9 on the streaming service.
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Considering that she’s the third presence on the screen, if she doesn’t look good, the movie doesn’t have a shot. Of crucial importance to the movie is Dren. There’s also enough slime and blood at key moments to make the movie sufficiently horrifying. He also keeps the movie focused and moving at a pace that feels quicker than its 104 minute runtime, yet slow enough so that the heightened pace of the movie’s finale leaves the viewer adequately breathless. He does quite a good job with Dren’s various temporary homes, from the lab and beyond.
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If you can say one thing for Natali’s directing talents, he knows how to shoot a laboratory to maximum effect. The ending is incredibly cliché, and some of the twists near the end were a bit obvious and expected, but that’s the case when you’re dealing with what is essentially a prettied-up, more intelligent B-movie with a good cast. Even when the movie becomes a bit predictable towards the end, it never ceases to be entertaining, which is good. The script of the film, from director Vincenzo Natali, Antoinette Terry Bryant, and Doug Taylor, finds the right balance between the dramatic, the pseudo-scientific, the horror, and the comedy you need to make a movie like this work without falling into the trap of being too moralistic, stupid, or worse, boring. Since they get all the screen time, they have to be able to hold the audience’s attention, and they do that very well.
It’s a good balance that plays to the strengths of the two actors. Sarah Polley, who got her big break in Dawn Of The Dead, returns to the monster genre as the boundaries-pushing ‘science is its own reward’-type Elsa, while Oscar-winner Adrien Brody can always be counted on to give a good performance, and is very good here as the more reasonable member of the duo of postmodern Doctors Frankenstein.īrody in particular gets some good dialog, as he’s the quirky one of the duo and gets all the jokes, while Polley gets to be the more emotive, serious one. Splice is buoyed by having an excellent cast. The end result of their experiments, which dance with the forbidden by using a little segment of human DNA, is Dren. Splice is more like a 1950’s sci-fi movie with a bit more edge and better monster effects or, perhaps a family drama, only one of the family members is a monster made up of weirdly recombining DNA that randomly mutates and causes the youngest family member to randomly grow wings and age at a shockingly fast rate.
Of course, given that I brought up the nature of trailers, the movie isn’t that. Splice, in every trailer I’ve ever seen for it, is being sold like a classic science-gone-wrong monster movie, in which Dren (played as a child by Abigail Chu and as a teen/adult by Delphine Chaneac) basically goes off the rails and starts doing evil things with her stinger tail and general creepy appearance. If you stick a bad trailer with a good movie, or a boring trailer with a fun movie (ahem, Jennifer’s Body, paging Jennifer’s Body), I just get irritated. Your trailer can be bad, but so long as the movie itself is a piece of crap, I’m fine with that. There’s nothing I dislike more than a misleading trailer. Call me crazy (“You’re crazy!”) but it’s a lot of fun to me to see how people, studios, or whoever decide to encapsulate the essence of their 90 minute movie into a couple of fleeting moments. I watch a lot of movies, and I watch a lot of movie trailers.
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