" Stop crying. You're only making daddy's willy harder!"
Martin's father.
 |
| Baby sitter for hire. |
Script Logic; 0/2
Pace; 1/2
Acting; 1/2
Aesthetic; 1/2
Originality & Intention; 1/2
Final Score; 4/10
Final Word: I'd like to go on record now and say that I'm not quite sure why this film even exists. It's morally questionable, pointless and putrid. Actually I'm quite surprised it even got a score as high as 4, but my reviews are nothing if not fair...
The script falls to pieces very early on, and although it's painfully clear that none of this is really happening other than in the main characters fractured mind (and if that's a spoiler then I'm seriously worried about the humanity) that hardly excuses some of the more glaring issues, and while the pace is never lively it's not exactly dull either. Most of the performances showcased here wouldn't qualify for your local theater group, but Laurence Harvey, as the antagonist, is exceptional; in fact it's his performance alone that gives the film any sort of credibility- feeble but too skin-crawlingly deranged and sadistic to ever be sympathetic. In fact, I'd love to know how this film was pitched to him "hey, you're creepy, sweaty and fat, and you look like you'd fuck a helpless woman with barbed wire- you're perfect for this role!"
Interestingly (did I really just say that?), the film tells the story of a psychopath who tries to emulate (in his imagination at least) what he's seen in the previous Human Centipede film, so this is actually less a sequel and more of a meta-spin-off which breaks the 'fourth wall'*. Having said that, the film does little to explore that interesting set up and very quickly (possible from minute 5) devolves into a series of grotesque and sexually violent torture porn scenarios.
So, if any of this sounds like 'your bag', then go knock yourself out and find a copy. For anyone who attaches even the smallest amount of importance to things like plot and character, you'd best be looking elsewhere...
* 'Breaking the fourth wall'; Breaking the fourth wall is when a character (or in this instance, the film itself) acknowledges their fictionality, by either indirectly or directly addressing the audience. The term is derived from stage theater, where by the stage has a back wall, two side walls and the 'fourth wall', an invisible wall between the actors and the audience (or between fiction and reality).
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