Critic Reviews
66
Metascore
Generally Favorable
positive
26(74%)
mixed
7(20%)
negative
2(6%)
Showing 35 Critic Reviews
91
A cheeky, great-looking, thoughtfully loopy creature feature about the lure and dangers of cutting-edge gene splicing.
91
It's a refreshing change from run-of-the-kill horror. Nothing in Splice feels done merely for the moment -- it's to creep you out later.
90
The film takes itself frivolously when that's appropriate--some of it is charmingly silly--and seriously when, as is often the case, all sorts of good surprises are unleashed.
90
In its mix are ethical quandaries in biotechnology, nature versus nurture and an adorable-sexy-disturbing monster. So there's that. But it wins best in show by focusing on one of the weirder relationship triangles in recent memory.
90
The movie is ridiculously over the top, inelegant and so defiantly ?crazy?that it works, reminding you how fun gore and creatures that go bump ?(and? grind) in the night can be. It's a sci-fi horror film, but no actual ?comedy?has made me laugh as much this year as Splice.?
90
Mr. Natali, whose earlier films include “Cube,” hasn’t reinvented the horror genre. But with Splice he has done the next best thing with an intelligent movie that, in between its small boos and an occasional hair-raising jolt, explores chewy issues like bioethics, abortion, corporate-sponsored science, commitment problems between lovers and even Freudian-worthy family dynamics.
90
Dark, sleek, funny and creepily infectious, the genetic-engineering horror-comedy Splice is a dynamic comeback vehicle for Canadian genre director Vincenzo Natali, who made a splash a few years ago with "Cube."
85
Heady, creaturely, and looking for trouble, Splice is also a sovereign creation: Conceived and midwived by Vincenzo Natali (Cube), it suggests the pure-bred Canadian love child of James Cameron and Margaret Atwood (I see David Cronenberg presiding over the baptism).
85
The film's greatest accomplishment is its ability to change tone at least three times without losing the audience.
83
Played with black humor that never gets in the way of the horror, Natali’s film cleverly exploits Dren’s uncanny semi-humanity.
