All that means is that I was unfamiliar with the characters, story and songs before seeing the film, and was no more interested in them afterward. While I am fairly certain that at some point I've made a purchase from one of those teen-targeting mall stores that stock the full line of Manic Panic hair products, Korn t-shirts and Nightmare Before Christmas knick-knacks, I am in no way the target audience for Repo!.
Before long, Shilo, her father and the Rottis converge upon the annual staging of The Genetic Opera, where longstanding grudges and unresolved conflicts come bubbling to the surface at the same time that the world's pre-eminent entertainment event unfolds in front of the world populace. Meanwhile, a sheltered young girl named Shilo Wallace (Alexa Vega) escapes from the imprisonment of her father Nathan's (Anthony Stewart Head) palatial estate, only to uncover a sordid, blood-stained trail of deceit, betrayal and death that binds her family to the Rottis.
After decades in charge of GeneCo, CEO Rotti Largo (Paul Sorvino) announces that he is stepping down due to health reasons, leaving his empire to be divided among his three children Luigi (Bill Moseley), Pavi (Ogre) and Amber Sweet (Paris Hilton) – each of whom is unsuitable to take over the reins for various reasons. The only catch is that GeneCo reserves the right to repossess these organs if recipients don't make their payments, and enlists Repo Men to retrieve the used body parts. His youth was apparently ravaged by war, his wife is exaggeratedly hostile, his best friend is a possessive bully – yet none of this really justifies his previous, near-sadistic ruthlessness.The film takes place in the not-so-distant future, where a corporation named GeneCo has revolutionized the healthcare system by offering widespread transplants after an epidemic of organ failures threatens the world's populations. Repo Men is not the dark allegory of modern consumer society it perhaps believes itself to be in reality we are left with yet another take on the already overly-familiar tale of ‘the killer who goes through a change of heart’ (literarily in Remy’s case) and feels the need to atone for his deeds. Remy’s overnight transformation is an unconvincing one, and he never succeeds in becoming truly sympathetic. From the moment Remy wakes after his accident in dire need of a new heart, the premise of the film reveals itself as clichéd and unsophisticated. The idea of exploring ideas of ‘repossession’ in such an unsettling way, in a time of economic uncertainty when it affects the actual lives of so many people, seems intriguing enough at first however, the film’s plot quickly falls short of being truly relevant.
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