I've never really hated Uwe Boll for his video game adaptations, mainly because he was brutally honest about them. He clearly knew he was making garbage and was not ashamed to say he just wanted to cash in. I don't applaud that motive, but Boll was a bearable director back then. "Seed" on the other hand is from the phase where his movies actually started 'meaning' something. On the surface it's a poorly made (and extremely poorly lit!) slasher movie about yet another mute serial killer with yet another ridiculous disguise, but don't be fooled. According to Boll it's actually about all the evils man can do! Boll recorded a hilariously pretentious commentary for this movie, which is good because the movie is dreadfully boring without it. The scene he's apparently most proud of is the one where an elderly woman gets bludgeoned to death for five straight minutes, a scene which might have the worst CGI effects I've ever seen outside of the SyFy Channel. I could buy Boll as a clever businessman. I can't buy Boll as a filmmaker that actually has something to say, because it all seems so fake to me.

So, Uwe Boll does a serial killer flick, albeit one with a supernatural slant. A hulking masked killer is sent to the electric chair only to come back from the dead, seeking revenge. This is by far the worst Boll film I've seen, worse even than BLOODRAYNE and ALONE IN THE DARK, because it manages to be completely offensive as well as execrable.The film begins with needless scenes of real-life animal torture provided by PETA. They're there to shock, and that's it. Then we watch various things die, including a baby in the most distressing scene. More junk designed to shock and desensitise the viewer. Finally the film becomes a predictable, shot-in-the-dark slasher flick, with a random killer murdering endless cops and innocent victims.Later on, there's a stand-out scene of Seed beating in a woman's head in a kitchen which lasts for around five minutes. That's it - just mindless sadism, unnecessary and completely stupid. SEED is as bad as it can be, with rubbish performances, really bad production values, zero story, and awful direction. Michael Pare might be the king of B-movies but he needs to see sense and stop appearing in movies like this one.

Director Uwe Boll is commonly regarded as a terrible film-maker, and his sick psycho killer flick Seed is unlikely to radically alter this general perception, being an absolute mess in the script department; however, if nothing else, it does prove that Boll has balls.Packed full of sadistic, no-holds-barred violence, the film is truly nasty stuff from start to finish, the director clearly not intending to make any new friends; as a result, I can't help but feel a sneaking admiration for this movie maverick, a man for whom the words 'quit', 'diplomacy' and 'restraint' obviously do not exist.During the opening credits, Boll even has the nerve to show PETA footage depicting real-life atrocities perpetrated on defenceless animals; I can only guess that this was an attempt to show the viewer just how inhumane people can be, but it comes across as a cheap tactic to shock the audience.Thankfully, everything from here on in is achieved through special effects, although with numerous graphic murders, a baby among the many victims, it's still definitely not for the easily offended. A prolonged hatchet attack on an elderly woman is perhaps the film's most nauseating moment (although as this particular spot of carnage escalates, the somewhat iffy CGI makes it slightly less effective). Yes, Boll sure knows how to upset and disturb; all he needs to do now is perfect telling a decent story (one that isn't so obviously flawed), hire a decent lighting technician (some scenes were way too dark), and he might be able to silence his critics without having to punch their lights out.4.5/10, rounded up to 5 for IMDb.

Uwe Boll's "Seed" seems to have only one purpose and that is to provoke its audience with constant sick behavior and despicable acts from a deranged psychopath who wears a sack over his head. If you have any moral compass, and I'm guessing some of you might just derive a thrill from this sicko's activities, then this film will have something in it that shocks you. Surviving the electric chair, the killer decides to take revenge on the law who imprisoned him (he even is buried alive, but those who knew he wasn't *completely dead* decide not to finish the job, even as no one would know except them). Yep, one of those cops, played by Michael Pare (a strong, convincing performance from an actor often stiff, but it isn't surprising he could find the emotional range considering what his character must endure) will learn the hard way how it feels to bring a killer to prison only for the depraved butcher to live despite volts coursing through his body. Prepare to see tape recordings of animals suffering and rotting with maggots, shot in "quick time" editing to see their corpses deteriorate at a rapid rate. A dog, rat, eventually a female victim—it's all so perversely unpleasant so if you get your rocks off with subject matter which dwells on a killer putting animals and people in a prison, allowing them to starve, masturbate away to your heart's content. Oh, and Boll takes his movie one step further, yep a baby. A baby for chrissakes. If you are making a statement about human cruelty, okay I get it, but we must spend 90 minutes wallowing in human misery of poor Pare, who doesn't even get a chance to exorcise the demons that torment him (to sit through tapes of a killer's handiwork would take its toll on anyone who isn't warped in the head) thanks to Boll's depressing script. Here's a killer whose rampage is off-the-scale (over 100 people the film claims he killed), forcing us to see him continue to have his way, can we not get, at the very least, some satisfaction of seeing the sick bastard get his comeuppance. Does Pare really deserve his fate-Jesus Christ. I felt the whole point is to use his film to infuriate and sicken—if so he succeeded. Ugly, grim, repulsive film. Not without its power, however, and as much as I hated this f*beep*ing film, it has moments, such as when the law enforcement raid Seed's home in the dark of night, most of them slaughtered, that I couldn't deny Boll. Boll has developed into a filmmaker who is all too willing to press any buttons, unafraid to present on screen the utmost acts of cruelty. Boll's skills at lensing through the steadicam technique aren't too bad, either. But Seed is presented as invincible, and when Pare has this opportunity to blow that scumbag's brains out and doesn't do so, the world remains a dangerous place. If he didn't already leave a bad taste in my mouth—obviously his intention—throughout the movie, the ending spewed a pungent smell that I'll have to accept. The most notorious scene is well documented by this film's fans: the hammer abuse to a bound woman as Seed unleashes a minutes-long body (mostly the face and head) beating. Boll—the man seriously needs to see a shrink—even applies an orchestral score to the hammer violence, with Seed taking his time. The movie looks like it was set in the 70s and feels reminiscent to the Zodiac-type of brutality the decade was known for with the crop of psychopaths popping up all over the country. Certain to gain a cult following because of its "pull no punches" narrative and violence.