Review: 'Splinter' (2008)

The bio/body-horror sub genre is one seldom explored in the fright field of modern day. In an age when most cinematic horrors originate from rejuvenated psychopaths and the undead, more personal fears like viral infection and grotesque medical diseases seem like an after thought and something of the past. Director Toby Wilkins, however, hasn’t forgotten the power of classics like John Carpenter’s The Thing or David Cronenberg’s The Fly - films that clearly acknowledge the primal human fear of getting sick and its subsequent effect on both the physical and mental state of those afflicted by it. His exceptional genre debut Splinter - a body horror/monster pic that sports both blood and brains in equal doses – is a great example of humans forced to sacrifice their own bodies in order to survive.



THE LOWDOWN: While on an anniversary camping trip in the woods of Oklahoma, Polly (Jill Wagner) and her nerdy boyfriend Seth (Paul Costanzo) are hijacked by small-time thug Dennis (Shea Whigham) and his drug-addled partner Lacey (Rachel Kerbs) and forced to drive toward the Mexican boarder. While enroute to their destination they hit something in the middle of the road; a small dog infected with a very bizarre parasite that seems to have taken over the canine’s body even after death. Startled, the group continues on their way but soon their car radiator overheats and they are forced to stop at a gas station for help. Upon finding the station deserted and the attendant dead from the same deadly organism, the group take refuge inside the store in an effort to fend off the aggressive critter.



THE TERROR TALE & ITS TIMING: At its core Splinter is a siege movie, reminiscent of Night of the Living Dead, Assault on Precinct 13, Tremors and many others alike which illustrate the ordeals suffered by a small group of individuals at the hands of an aggressor whilst trapped inside a claustrophobic environment. And while we may all not have experienced such a situation in our lives, it is a premise anybody can immediately relate to because of the inherent ‘what would I do?’ factor. For an audience these types of movies always seem to evoke a lot of active participation and lively vocal commentary, in many cases causing one to yell at the screen in either frustration or admiration, depending on the circumstances the characters find themselves in and the choices they make. Wilkins takes full advantage on this concept by pitting his two lead characters against not one but two evil enemies – the creature itself and Dennis’ criminal fugitive – creating an interesting comparison of whom is more threatening to their survival. However derivative in set-up and scenario it may be, the best thing about Splinter is its simplicity of story and directness of action, making for a good old-fashioned romp anchored by an intriguingly different monster.



Speaking of monsters, the neat creature work and concept design of Splinter go a long way in making it the successful movie that it is. If this were just another bunker movie with zombies, vampires or even some obscure viral infection the result would likely be a passable genre note at best. Not to give too much away, the main difference between Splinter’s vile cretan and the likes of a Jason Voorhees or Michael Myers is the complexity of disposition intrinsic to its survival. Right from the get-go in any Friday the 13th or Halloween entry you know what to expect as far as the killer’s motivation and habits are concerned, likening such cinematic madmen to predictable cliché’s that rarely (if ever) change from sequel to sequel. And as appealing as these villains are in their own right, the organic obscurity of nightmare nasties like the black splinters featured here make not only the action of the film more entertaining but also thought-provoking. Oh, and aside from all the behavioural implications and biological curiosity, these splinters are freaky as hell!



DOOMED CHARACTERS: Given the nature of the siege scenario, a film like this unquestionably needs likeable characters one can identify with, otherwise an audience isn’t going to be invested in the fate of the players one little bit. Put simply: if YOU were in that gas station and YOU were fighting for YOUR life, the characters need to reflect the same paranoia, frustration and desperation YOU would feel if they were in your shoes. Thankfully, Wilkins’ characters are both relatable and believable and never over-estimate themselves or the situation at hand through result of their attitudes or actions in face of death itself. As life would have it so often, these are merely normal, unassuming people caught in the wrong place at the wrong time, never in their wildest dreams thinking they would ever come in contact with the horrors that await them by the end of the movie. And while they may be from opposing words, the dire situation Polly and Seth find themselves in forces them to abandon any inhibitions they may have regarding Dennis' morality or pretense and instead come together as one in order to fight their adversary. The isolation of the environment also helps from a writing standpoint, allowing Kai Barry and Ian Shorr’s script to generate subtle character flaws and insecurities during the film’s more quiet moments. Wagner and Costanzo make an instantly convincing onscreen couple and both carry the movie’s conscience with a simple amiability and likeness that helps counteract Whigham’s deplorable ex-con. All round, the performances are solid and convincing.



THE LOOK OF FEAR: Splinter’s relatively low budget is but a total asset to its effectiveness as a horror movie, never once feeling over produced or spoiled with production resources misspent. The film was shot entirely on location in Oklahoma and feels nothing but authentic as a result, further adding to the feeling of rural horror and small town remoteness. The gas station, at first merely a hotbed for hick passer-bys, soon becomes a virtual hell soaked in blood and other bodily fluids; a rustic nightmare comparable to the log cabin in The Evil Dead. The desecration of the location is all but exemplified through Quantum Creation FX’s superb practical creations, ranging from hideously contorted corpses and animatronic puppets to a full-blown amalgamation of body parts that constitutes the film’s key villain. The effects are all impressively executed with little-to-no CG manipulation - a sincere blessing when it comes to this type of movie and something fans are sure to appreciate. The only real drawback among the mayhem is the occasionally distracting camerawork and unnecessarily frenetic editing during the action sequences, likely a result of trying to mask the difficulty of pulling off such illusions on set. Instead of creating an immediacy to the mayhem, Wilkins’ over-reliance on close ups and shaky hand-held sometimes make the laws of cause-and-effect confusing, thus leaving you a little clueless as to what exactly happens during select scenes. A minor misstep in an otherwise technically polished low budget film.



THE SOUND OF FRIGHT: Another standout feature in Splinter’s eclectic carnival of horrors is its brilliant sound design. In trying to articulate the crude behavior of a fictional monster, a variety of questions arise in what it would actually sound like in its natural environment and when in contact with foreign beings. Wilkins laden’s his film with a plethora of uniquely expressive and frighteningly eerie audio effects that make the parasite all the more tangible in the movie’s mundane surroundings. The chaos and commotion is again augmented through the sonically rich score by Elia Cmiral, an immensely talented young composer whose genre roots go all the way back to Martin Donovan’s slick 1988 thriller Apartment Zero.



FINAL THOUGHTS: It’s difficult to watch Splinter and not be reminded of similar movies of its ilk. However, this recognisability also demonstrates the film’s knowingness and respect for its peers and more importantly its willingness to further push the siege sub-genre into uncharted territory with a unique monster all its own. You can tell Wilkins and co had high aspirations when conceiving their macabre little picture and through believable characters and a striking central menace, Splinter is an attention-grabbing debut that deserves more than just a prick.