Fast forward to 2015 and the much-awaited-by-some third and final part to the trilogy is released with a glitzy L.A. premiere, a number of famous faces in the cast, and a scope & production value far greater than its predecessors. Don't get the idea that 'The Human Centipede' has gone "mainstream" though; the gleeful tagline "100% Politically Incorrect" suggests this film's tone will be far from the tried and tested horror-by-numbers sensibilities of a Blumhouse Production. The main question that dampened the hype building up to release was whether, after two whole films, the concept of the Human Centipede itself had anything left to offer.
Every action is so overblown and expressive, and every line is screamed out loud with such manic passion. The combination of wild aggression and his thick German accent results in a good portion of his lines being barely distinguishable, but some grotesque gesticulations tend to fill in any blanks as to what he was referring to. Laurence R. Harvey is not given the opportunity to steal the show in the way Laser does, but seems just as comfortable in this overblown comedic style of acting as he did in the brutally grim, straight-faced style of the second instalment to the franchise. Just like Laser, though, he seems to really become his character - every action & intonation seems considered. Six has either had an enormous stroke of luck or has done a fantastic job (or probably a combination of the two) in searching out these two actors for his trilogy.
This is the best looking film of the trilogy. After the simple, clinical look of the first, and the grimy, handheld, snuff-esque aesthetic of the second, this has a real American indie film look to it, with the Texan location offering wide, empty vistas, sweeping camera movements and a warm colour grade. If it wasn't for every single moment of the movie being entirely inappropriate, this wouldn't look out of place at Sundance or the like. Six has clearly realised his Human Centipede concept, no matter how many legs it may have, can only run so far: managing to squeeze two films out of it without it feeling unnecessary was impressive, but a third really would have pushed it too far. As such, the 'pede itself is really a footnote to the wider story of the prison; merely the method by which Boss aims to take control of his prison. Little time is dedicated to the process of creating it, or even to the finished piece. An astute move when horror sequels often tend to repeat the same formula over and over until no one notices they stop making them.
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