Originally published December 4, 2008 at 3:00 PM | Page modified December 4, 2008 at 3:49 PM
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Movie review
"Repo!": A gory, goofy rock opera
"Repo! The Genetic Opera" is Darren Lynn Bousman's goth rock opera featuring buckets of gore, a campy score and melodrama galore in a calculated effort to become a 21st-century "Rocky Horror Picture Show."
Star Tribune (Minneapolis
"Repo! The Genetic Opera," with Paul Sorvino, Anthony Head, Alexa Vega, Paris Hilton. Directed by Darren Lynn Bousman, from a screenplay by Darren Smith and Terrance Zdunich. Rated R for strong bloody violence and gore, language, some drug and sexual content. Varsity.
You thought "Sweeney Todd" was bloody? It's a skinned knee compared with "Repo! The Genetic Opera." This goth rock opera features buckets of gore, a campy score and melodrama galore in a calculated effort to become a 21st-century "Rocky Horror Picture Show." Its creative juices, however, are strictly anemic.
The post-apocalyptic world has been decimated by mass organ failures. But one man's crisis is another's opportunity, and spleen merchant GeneCo rises to the occasion. It offers lifesaving transplants at exorbitant prices. You'd better stay current with your payments, though. A cadre of masked slashers reclaims GeneCo's property when customers fall behind.
Paul Sorvino is corpulent villainy incarnate as Rotti Largo, the biotech's tyrannical CEO; a certain hotel-chain heiress vamps cluelessly as his plastic-surgery-addicted daughter. Their rough relationship is mirrored by the conflict between sickly Shilo (Alexa Vega) and her overprotective scientist father, Nathan (Anthony Head of TV's "Buffy.") He keeps her locked in the family mansion to shield her from infection, to keep away suitors and to conceal a Terrible Secret she must not know. The two clans move through the story on a collision course. In true operatic style, it ends in tears, tragedy (or at least crimson Karo syrup) and song.
The film aims for instant Midnight Movie cult status, but its coolness credentials are wobbly. The sight of crooning cadavers has its appeal, but the film's strenuous efforts to dazzle are wearying. Darren Lynn Bousman, the hackmaster behind "Saw II," "III" and "IV," edits the film as if he ran over the footage with a Snapper lawn mower. The singers are strong enough (opera buff Sorvino is especially impressive), but the strident score is torture porn for the ears. The costumes make every female look like a Victorian streetwalker and each man look like Jack the Ripper.
Unless you already own a collection of black lipsticks, bondage bridlery and Dracula capes, move along — there's nothing to see here.
Copyright © 2008 The Seattle Times Company
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