23 October 1998 | Escoba
A post-euclidean tour de force
I never thought that a straight to video, EP format film could be so engrossingly luscious. The sparse, unembellished dialougue would make Hemingway proud, and the Faulkneresque surrealism tops it off. A bold, yet flawless combination results. For example, when the bio-baby's mother uses a basketball under her shirt to simulate pregnancy, the sport's inherent physical violence foreshadows the creature's ultimate nature. Conversely, when the four-door Pontiac, just before being struck by the missile, is replaced by a two-door Buick, it becomes apparent that means of this sort will only reveal the chaos that must ensue whenever anyone employs violence. The only virtue of the car which remains unchanged is its color, red, which needs no explanation. Similarly, when the editor inverts the negative of the crashing helicopter, well, the imagery is readily apparent. This film, while disturbing, will forever change not only the way you look at filmmaking, but your view of life itself.