#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In the year 2056 – the not so distant future – an epidemic of organ failures devastates the planet. Out of the tragedy, a savior emerges: GeneCo, a biotech company that offers organ transplants, for a price. Those who miss their payments are scheduled for repossession and hunted by villainous Repo Men. In a world where surgery addicts are hooked on painkilling drugs and murder is sanctioned by law, a sheltered young girl searches for the cure to her own rare disease as well as information about her family’s mysterious history. After being sucked into the haunting world of GeneCo, she is unable to turn back, as all of her questions will be answered at the wildly anticipated spectacular event: The Genetic Opera.
Plot: By the year 2056, an epidemic of organ failures has devastated the planet. The megacorporation GeneCo provides organ transplants on a payment plan – and those who can’t fulfill their plans have their organs repossessed. In the midst of this, a sickly teenager discovers a shocking secret about herself, her father, and their connection to GeneCo.
Smart Tags: #gore #violence #repossession #future #surgery #opera #murder #blood_splatter #guts #mutilation #mercilessness #organ_harvesting #dark_comedy #murder_of_a_pregnant_woman #pregnancy #good_versus_evil #punctuation_in_title #lung #scream #sex_scene #cult_favorite
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Not so impressed…
Fewer words, I imagine, strike greater fear in the minds of audiences and producers alike when the words “passion project” are thrown around. After helming three straight Saw sequels, long-suffering director Darren Lynn Bousman finally gets to cut loose creatively with his gory rock opera Repo, which evolved from a series of quickie stage improvisations courtesy of the film’s writer/composers, Darren Smith and Terrance Zdunich. Unfortunately, the film turns out to be more Across the Universe than Hedwig and the Angry Inch, eager to please but ultimately less than enjoyable for anyone not a devout enthusiast of its chosen musical framing except in this case, it’s a nostalgia-fest for turn-of-the-90’s goths instead of baby boomers.
Bousman, to his credit, assembled an intriguing cast: Buffy the Vampire Slayer’s Anothny Stewart Head (a stage veteran who’s also appeared as Frank n’ Furter in Rocky Horror), Spy Kids star Alexa Vega, elevator-music superstar Sarah Brightman, renowned character actor Paul Sorvino (Law and Order, Goodfellas), horror vet Bill Moseley, and, in a shrewd bit of meta-casting, tabloid magnet Paris Hilton. In much the same manner that reading the cast list seems to create a logic fissure in the universe, the film’s disparate elements never coalesce into anything coherent. Ostensibly an elaborate comment on consumer society and celebrity obsession, Repo seems to serve mainly as a hyperactive springboard for a filmmaker overeager to prove his uniqueness.
Set in a cartoonishly grim future, Repo revolves principally around Nathan (Head), a “repo man” who impolitely collects organs from hapless citizens on behalf of GeneCo (led by Sorvino’s sinister, dying Rotti), a massive conglomerate that swooped in to commodify healthy organs following a deadly epidemic of organ failures. His daughter, Shilo (Vega), is ill with the blood disease that claimed her mother, and is kept in unwilling sanctuary in his home. Meanwhile, Rotti’s offspring (Moseley, Hilton and Skinny Puppy’s Nivek Ogre) bicker, in an obvious nod to King Lear, over which one will inherit their decaying father’s empire. Oh, and somewhere in the mix there’s also Mag (Brightman), a celebrity singer with GeneCo-implanted holographic eyes who’s trapped in a dead-end contract.
If the plot seems needlessly dense, that’s because it is, and the film is crippled at the outset by its ludicrous number of characters and plot threads, never to recover. This undercuts both the plot’s coherency already tenuous at the outset and the integrity of the performances proffered by its diverse cast. Particularly wasted is Moseley, who brings his character to slyly sadistic life, but doesn’t get much chance to develop in his eight or so minutes of screen time. Others get shoehorned into thankless roles Vega, who has Broadway experience and shows evidence of being a capable performer, is saddled with a bratty, shrill heroine, and Sorvino, as the film’s principal villain, is never able to find a consistent tone either of internal anguish or righteous indignation, largely because he’s provided with a few too many motivations relating to nearly every other character. The supporting cast is uniformly competent including the widely reviled Hilton but none besides Mosely leave much of an impression. Head’s “repo man” suffers most – his character enjoys his grisly work at some points and is disturbed by it at others, simply at the film’s convenience, making him useless either as a figure of scorn or sympathy.
Smith and Zdunich don’t only botch the film’s plotting but also its densely arranged musical score, which spends most of its time occupying a confounding space somewhere between Ministry and Evanescence that simply shouldn’t exist. Occasionally, a novel vocal harmony or passably funny lyric will arise (particularly in scenes where Head and Sorvino duet), but none of the individual songs are at all memorable. There’s an opportunity for redemption in the film’s embrace of over-the-top satire near the film’s conclusion (featuring a memorable moment where Hilton’s character loses face a bit) but ultimately opts for a lame, sequel-ready non-ending. For all of the film’s references and targets, its Vaseline-on-the-lens aesthetics, leaden musical numbers and generally witless approach keep it from joining the ranks of the beloved “outsider” musicals its creators so obviously worship.
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Nothing Like It
I have been to cult films, I have been to great grand openings of everything from movies to books to games to this and that. If there is an opening, I will go to it. This movie… this entire experience, it was like nothing I’ve ever been to in my life.
People are asking whether or not this type of movie will gain ‘cult’ status, but the fact of the matter is… it already has. To quote Darren: “I’m standing up here, and I see that seventy percent of you are in costume, and the others are saying ‘Damnit, why didn’t I dress up?’.” Dressing up isn’t all that makes a cult, the fans are. The fact of the matter is, this movie has a rabid, feasting fanbase that would gladly hog-tie and grapple you to the movie just so that you have the experience of seeing it.
Those who say that this movie is crap, that it doesn’t have an audience, and that the music is (my personal favorite) ‘atonal’, either weren’t watching, listening or paying any attention to it at all. This movie is worth far more than anything I’ve seen in theatres for years. It is easily the most unique experience of my life.
I’d rather see something completely unique, even if it’s offensive, gritty, shot with hand-held camera and staring sock puppets than watch anymore of the ‘wannabe’ good movies that have been coming out. These ‘Masterpieces’ that people consider to be SO amazing have nothing on a movie like this. This movie is untouchable, it is completely beyond all words.
Everything about this movie has a unique touch that is completely noticeable in absolutely every scene and song. It is an insult to creativity and artistry that a movie such as this should be shoved into only seven cities and outcasting all those who want to watch it so badly.
Myself and two friends drove down from Canada to watch it in Seattle, and we weren’t the only ones, and some of the people at our showing were from Texas. This movie will surpass any movie this year through the years, simply because of the fans.
Do NOT miss watching this movie. If you can watch it, even if the theatre is three or four hours away… DO IT. Go in costume, shriek and have the best time of your life.
Original Language en
Runtime 1 hr 38 min (98 min), 2 hr 30 min (150 min) (original cut) (USA)
Genre Horror, Musical, Sci-Fi
Director Darren Lynn Bousman
Writer Darren Smith (screenplay), Terrance Zdunich (screenplay), Darren Smith (play), Terrance Zdunich (play)
Actors Alexa PenaVega, Paul Sorvino, Anthony Head, Sarah Brightman
Awards 3 wins & 1 nomination.
Production Company Twisted Pictures
Sound Mix DTS, Dolby Digital, SDDS
Aspect Ratio 1.85 : 1
Camera Panavision Genesis HD Camera
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format N/A