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Posted on Monday, October 20th, 2008 4:34:27 GMT by: Rick McGrath
Posted under: movie review scifi musical horror
Year: 2008
Director: Darren Lynn Bousman
Writers: Darren Smith & Terrance Zdunich
IMDB: link
Trailer: link
Review by: Dr. Nathan
Rating: 5 out of 10
You may want to accuse me of quackery, but I’m still going to enter into the medical files that Repo! The Genetic Opera is probably not going to become a cult classic no matter how much it attempts to be an upscale update of the Rocky Horror Picture Show.
Why? Lemme tell ya. First off, bad music. Second off, geriatric stars. Third off, hackneyed love triangle plot with forgettable lines. I’ll stop there, although there’s more. And yes, there are positive points to make… but let’s start at the beginning.
The TAD audience arrived in sold-out numbers to catch the city’s first showing of this somewhat-hyped flick, and not surprisingly were treated to an introductory speech by Repo! co-writer Terrance Zdunich, who revealed the thing was shot & produced in Toronto and that it represented the world’s first “21st century rock opera” – an oversight of creativity we’ve apparently all been losing sleep over. “If you like it, tell your friends”, Zdunich implored. “And if you don’t like it, at least tell your friends it took some chances”.
Sorry Terrance, but your movie is a heckuva lot closer to the 19th century than the 21st, and as far as I can tell, the only “chance” you took was coughing up a big production budget and hoping it would disguise a weak story. The extravagant sets and costumes are something old and Dickensian – as are most of the “stars” – and everything about Repo is so highly stylized and oddly rushed that even the horror scenes emote little sense of horror or disgust. Dr Nathan requires some sort of catharsis. Oh my, where to start?
OK, it’s an opera, let’s do the muzak. First of all, it’s all music, and not all the music is rock. Unlike a “musical”, in which the characters start singing when the emotionality of the moment outranks speech, Repo! is a true opera, with everyone singing all the time. This makes it tough on the writers, Darren Smith and Terrance Zdunich (they also wrote the score), because in order to move the plot along they have to resort to what I call “noodle” singing, which is usually low on melodic effects and high on verbal content. You better pay attention – not much gets repeated. Opposed to this would be the big, emotional numbers with memorable melodies and less intellectual information. Sadly, our boys Darren and Terrance are pretty good on the noodling stuff, but draw major blanks on the showstoppers, possibly because there’s not much of a purely emotional high for our characters to get worked up about. Oh, they have lots of problems, but generally they’re all narcissistic rants and songs about dead wives and crummy jobs and how Dad doesn’t understand me aren’t going to get an audience going like upbeat numbers about new wives, new careers and dating guys. I’m not saying I want a Pollyanna soundtrack, no, no… but even in the organ repo business there’s gotta be some humour to exploit. Or at least a few good jokes. Some outrageous stuff. But no. It’s been less than 24 hours since your good doctor saw Repo! and to tell you the truth, I can’t remember one line of one song. Not good.
Perhaps the problem is with the singers themselves. Our stars are Paul Sorvino (born in 1939), who plays the evil Rotti Largo; Paris Hilton, who is Amber Sweet; Bill Mosely (born in 1951) as Rotti’s son Luigi; Anthony Head (born in 1954) as Nathan Wallace/Repo Man; and Alexa Vega as Nathan’s daughter Shilo. Shilo’s dead mom was married to Nathan but desired by Rotti. Hey, basically it’s a love triangle double revenge movie. Toss in 48-year-old Sarah Brightman as Blind Mag the Genetic Opera star, and you could populate an old folk’s home… with Paris and Alexa as underdressed chambermaids.
Sure, they can sing, but big deal. In many cases they have trouble enunciating their words, or the pace is very quick, and you find yourself sitting through a song and at some time wondering what the heck is going on. And I’m there, working. Sorvino gets caught up too often in the operatic moment – how long can you watch a guy hold a warble; Hilton is more eye candy than voice, and not onscreen as much as you’d like; Mosely is a minor figure; Head has a good voice, but what’s so great about watching a Dad berate his daughter before running out to remove some poor joker’s backbone; and Vega has a passable voice, a better body, but no love interest to get the backbeat going. She has emotional associations with just Dad – she has a “blood disorder” and he’s kept her locked in her room for 17 years -- and later the evil Rotti makes his play for her. Whatta waste.
Which leads us to the plot.
As I diagnosed earlier, it’s the old love triangle story – two men fighting over a woman -- slightly complicated with a kid tossed in as the Mom is now dead. So, no sex. In the bigger picture, the year is 2056 and millions have died from a rash of organ failures. No probs, though, as Rotti invents GeneCo, an organ transplant service, with a convenient layaway payment plan. This is made possible by a new painkiller called Zydrate that GeneCo has monopolized. Only downside: if you miss a payment, Nathan the Repoman is likely to appear and repossess the body part in question. Immediately. That might not be so bad. There were three girls in the audience dressed like Genetic nurses, and I later suggested to them I had purchased a big new penis last year and hadn’t made any payments, but they were loath to repossess my equipment. Hey, no harm in trying. Toss in the love/revenge story, and you’ve got a questionably complicated plotline that (a) is already tough enough for the substance abuse crowd to follow, (b) gives no opportunity for flesh-pressing, and (c) doesn’t give any opportunity for anthem-type songs to lift the audience out of the confused action and into active participation, as per the RHPS phenomenon. Sure, you can dress up as one of the naughty nurses, but you’ll find there’s nothing either camp or kitsch on which to rest your surgical gloves or repo mask. The story, sadly, is so broadly-based that the first 10 minutes is done as a graphic novel with voice-over in order to explain the endless background and get all up to speed for the main yarn. Perhaps this is another instance where doing a musical might have been better than slavishly following the operatic form.
OK, all negative so far… but there is some funky stuff. Like the sets and costumes. If your brain rebels at the lackluster plot, then your eyes will revel in the lush, almost overdone art direction. It all reminded me a bit of Tim Burton’s sense of detail applied to a highly stylized, Victorian vision of a future society. Either heavily overdressed or wildly underdressed, the characters move through at least 200 years of fashion, from the repo man’s surgical costume that looks like a reject from 20,000 Leagues Under The Sea, to the flimsy dresses that look like what Paris Hilton will still be wearing to clubs 15 years from now. The budget shows, too, with ornate design and a truly fantastic model of this city of the future with its dominating GeneCo Tower glistening under a full moon. The opening tracking shot from the outskirts of town to the city’s core is a great one, and the overall feel is one of mixed timeframes, the dusty past co-existing with a future that features great strides in body modification techniques (ironic given the number of facejobs the cast has endured) and funky 3-D wrist-held communication devices.
If you had to find a representative character that sums up all the flaws of this slightly pompous production, then I’d choose Blind Mag, the opera singer with Borg eyes played by the really surgical face of Sarah Brightman. Competent but careful, she shows off more of her MILF-like body than ever before, but really, who cares? Once she opens her mouth and that wanker warble emerges, you’re wondering if it’s time to refill the popcorn tub. She does, however, have the movie’s most memorable ending, although it’s still not worth the price of admission to see her – and the entire crew of geriatrics – take their final bows.
What can you say? I wanted it to be cool, but it looks like they had too much money to throw at it and got caught up in style, much to the detriment of the storyline and music. My diagnosis is this movie manages to bore the audience into a state of indifference as to the fate of the characters. A chancy move indeed, but you’d think this would also be the perfect opportunity to kick some opera ass – give up some energy in truly wild performances -- but no, we’re stunned into frozen silence with a rockless, roll-less and actual operatic soundtrack, with the “songs” essentially chained to progressing the overwrought plot. Will this become another Rocky Horror? They desperately want Repo! to become a cult classic, but methinks they tried too hard and the result is just a tad too self-conscious. I think Repo is bound for the Reaper, Grim.

Terrance Zdunich at TAD

Geneco employees may look sweet but they'll rip your heart out
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