REVIEW: ENTER THE VOID
YOU can't fault the title. ENTER THE VOID (18) – the latest offering from taboo-busting director Gaspar Noe – is a whole lot of nothing. Admittedly, 'nothing' rarely looks as nice as this, but the film amounts to a collection of visual gimmicks in searc
YOU can't fault the title. ENTER THE VOID (18) - the latest offering from "taboo-busting" director Gaspar Noe - is a whole lot of nothing.
Admittedly, "nothing" rarely looks as nice as this, but the film amounts to a collection of visual gimmicks in search of something to say and a decent actor to say it.
Set in a beautifully neon-lit Tokyo, young American Oscar (Nathaniel Brown) is shot dead in a drug deal gone bad, triggering a metaphysical journey as Oscar's soul jumps about in time as we discover the events that led to his predicament.
We see the entire story through Oscar's eyes and, on a technical level, it's a gloriously psychedelic trip. As a film, it's less successful.
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The opening credits - an epilepsy-inducing light show accompanied by white noise - promise an electrifying experience, but in reality the film's a mind-numbing slog.
The story goes nowhere, every revelation is tediously obvious and even the endless graphic sex scenes fail to raise it out of its stupor. Oh yeah, if you don't want to see intercourse from the sperm's point of view, don't bother with this.
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It has a few moments of brilliance, but all that sex and drugs makes it feel like you've been stuck in a 16-year-old's head for an eternity. - JUSTIN MATLOCK