Trembling camera, darkness and greyness of station, bald skulls, psychedelic music, nanotechnologies, strange organisms - all this is not immerses you in the movie but rather annoys, creates a sense of pretentiousness, grotesque of observed on the screen.It is not clear why resort to such vulgar and, moreover, hackneyed painting. The movie would have benefited from a serious realism, but it seems grotesque and theatricality, a disease not only of French literature, but also of French cinema.However the director wanted to tell us a lot - about the cruelty of Buddhism, the inhumanity of corporations and wickedness of people, and that it is not clear who is worse - prisoners or guards and, perhaps, the door between them was high time to open. And that even in the brutal hell you can show kindness and dedication by overcoming darkness in yourself and, thus, reducing the size of hell or destroy it as the "Saint George".4 out of 10

So, there is this space prison filled with bald criminals...heard this one before? Corporate scientist Elisa (Linh Dan Pham) arrives on a prison ship with plans of using the felons as guinea pigs for a new DNA altering serum. Also arriving on the shuttle is new prisoner St. Georges (Lambert Wilson). Quickly thrown into the tiny populace, the prisoners notice something is not right with the new inmate when he begins miraculously healing other inmates.Marc Caro - co-director of the DELICATESSEN and THE CITY OF LOST CHILDREN - makes his long awaited return to feature film-making but, unfortunately, this seems a step back. The film is visually stunning but the religious allegory heavy plot doesn't do it any favors as Caro seems to be mimicking 2001 and SOLARIS. This moves along at a pretty deliberate pace until an ending pops up that will make you scramble for the DVD menu, thinking you've inadvertently skipped a chapter. It literally comes out of nowhere and you can almost hear the money men pulling out of the project (reportedly last minute financial woes forced Caro to change his original ending). Interestingly, the US DVD has a 30-minute "making of" extra and co-writer Pierre Bordage mentions this was a project originally developed for Alejandro Jodorowsky. There is a great cast including DELICATESSEN lead Dominique Pinon and DELLAMORTE co-star François Hadji-Lazaro.

Now... Let's be honest ... Caro has never been able to get his head round a narrative ... Delicatessen and City of Lost Children were both wonderful to look at, but were a complete mess when it came to pacing and narrative ... This is so typical today when most of these cinema directors come from Television ... And making ADVERTS ... What we get is loads of flash, but no real substance This film even manages to fail on that front ... It looks cheap ... The story is all over the place ... And in the end it just turns into 2010,only not as good ... Which, lets be honest, wasn't the greatest piece of cinema I'm reading a lot about financial problems with the production etc... But quite frankly, however much money you throw at something it is going to be crap if there isn't a decent idea in the first place... AND THERE WASN"T : )

I really enjoyed this film. The cast, acting, cinematography, sets, script all top-notch. Many of critical of the Christian symbolism etc, I really didn't find any of that over-the-top at all. What's in a name? Not a helleva lot. The film itself has moments of utter psychological distress which I couldn't help to feel personally. Emotionally I was really drawn to this film. Sure it's not perfect but for a different take on the sci-fi genre (the French always do things differently) it has its place amongst others than are original and don't follow a distinct formula. The end had such an intense visual climax it was like a massive, visceral, abstract, surreal overload. The sort of thing I'm always looking for in electronic music - hard to find but nothing feels quite like it when you do. Don't be put off by all of the negative comments, I think this film deserves your support. And keep an open mind. Having an appreciation of the abstract helps. This film shouldn't be taken too literally.