It’s important to bear in mind that REPO! A Genetic Opera is, above all else, a collaborative effort that began with the vision of Terrance Zdunich and Darren Smith almost a decade ago. Bringing in Director Darren Bousman, who cut his teeth with Saw I-IV, along with an impressive list of great actors and musicians the original idea morphed into a triumphantly original Rock Opera that is as unique as it is layered and complex. The look of the film reflects Bousman’s grainy and garish subterranean aesthetic mastered in the Horror franchise that elevated his reputation but possesses a depth that those exploitation flicks simply could not address. Each character in REPO! is “fleshed out” quite well (often in comic book-style flashbacks – a gimmick that works well in the context of the movie’s Blade Runner meets The Crow aesthetic, with a slight nod to Frank Miller) and the storyline interweaves each of the principle subjects’ lives rather convincingly while maintaining a cohesive lyricism and rhythm throughout most of the picture. As ludicrous as the subject matter may seem – repossession of barcoded organs which were surgically implanted – it all works surprisingly well and that is mostly due to the strength of the performances.

Anthony Stewart Head is phenomenal at the Repo Man, Nathan. His characterization of the duality between loving father and vicious killer is striking, honing his vocals to embody emotional resonance while dealing with his daughter and hissing vengeance when out for blood. He masterfully personifies the conflicted soul of this entire effort. The number “Legal Assassin” deserves to be ranked among the best moments of Andrew Lloyd Weber’s Jesus Christ Superstar. The masks we wear in an effort to hide our true selves and the ugliness inherent in each of us as humans which masks the pure love we are capable of expressing are themes that lie at the center of this work. The realizations of error always come too late and that is the tragedy inherent in the film. Someone once said, “If you turn on the light quickly enough you can see the dark.” But are we actually quick enough to acknowledge such realization or are we doomed to our own slow-witted responses in the face of instant gratification and selfish desire?

REPO! is a multi-layered musical parable that will most certainly require repeated viewings. It isn’t without flaws and there are times when it overreaches or just suffers from an overdose of ridiculousness. The scenes involving brothers Luigi (Bill Moseley) and Pavi (Nivek Ogre) are often over the top and while the comic relief provides adequate contrast to some of the gruesomeness it sometimes stretches too far. Even so, a number like “Night Surgeon” where many of the principle players are involved is not only musically stirring but performance-wise elevates this from a purely exploitative exercise into an impressive display of inter-related aural expression.

The vocal performances don’t all match up of course and just reading through the list of contributors this would seem obvious. Yet there are surprises. When you include a professional such as Sarah Brightman in your cast you can expect that the untrained singers will obviously be outmatched. Bear in mind, however, that this is a Rock Opera and in Rock music vocal perfection isn’t the goal. The lack of perfection is what lends this project some of its edge. While Paul Sorvino has nearly a couple decades worth of vocal training under his belt, as GeneCo CEO Rotti Largo his frighteningly boisterous vibrato sometimes overpowers his strong tenor range. His performance and that of young actress Alexa Vega as Shilo suffer from being considerably uneven. But when they are strong they really nail it. And that serves as an example of the recurring trade-off in REPO! – at times you may wince but overall there’s a helluva lot to like about the way this film has come together.

Much has been made about Paris Hilton’s involvement in the project. The inclusion of everyone’s favorite tabloid Princess/punching bag seems like as much a slap in the face as it is an example of “stunt casting.” I hate to really piss off those who would have enjoyed seeing her fall flat in this endeavor but she actually manages to hold her own as Largo’s spoiled, surgery-addicted daughter Amber Sweet. While much of the performance doesn’t require a lot in the way of “acting” her singing voice is actually impressive and there are moments when the nuance of her expressions, even under full makeup, encourages empathy. Just keep telling yourself it had more to do with Bousman’s talented Direction and you’ll be fine.

The ending is a bit anti-climactic and there are moments throughout that are a little too cloying but with every tiny misstep the picture responds with a great deal of strength in recovery. REPO! A Genetic Opera is an impressive offering that is more the result of a number of creative minds rather than simply the product of a great Director or brilliant composer or talented actors. It all comes together in a phenomenally impressive manner and after you’ve seen it once you’ll want to see it again which is pretty impressive considering there’s almost no spoken dialogue. There are a number of layers at which to pick and the music has a tendency to stick in your head even if it comes across as too guitar-oriented or Nu-Metalish for the hipster underground crowd (Soundtrack contributors include mainstream artists from Filter and Slipknot as well as much-admired members of Bauhaus/Love and Rockets). Invariably the “stompier-than-thou” types will cry foul (“You got your chocolate in my peanut butter!“) but it isn’t as though you could ever please them anyway. The music is great, the acting resonates emotionally and the Direction is superb while the ideas provoke much to think about. Pretty damn good for a Goth/Industrial rock opera. Great, in fact. I’d say we easily have a new Classic on our hands.