Divinity, a black-and-white piece of surrealism, uses retro imagery to make facile observations about sex and aging. Our Divinity review:
imagined a hell-world spun out from the uncompromising obsession of a single stop-motion animator, drenched in futility and refuse.imagines a hell-world spun out from a conversation some L.A.
and ‘50s mad science pulp. An overreliance on badly subtitled voiceover makes you think they made a healthy percentage of the narrative connective tissue up after the fact. It’s a little like a self-important, full of half-hearted titillation and taking place in that indistinguishable gray area between a moonbase and a Hollywood sex dungeon.
While Dorff and Bakula lean into the retro performance angle, very much in grandiose serial star mode, the other performers barely register. An extended sex scene with porn star Emily Willis is exhaustingly dull, especially for a film with such clear and blunt ideas about all the things rattling around our lizard brains.’s main thrust is that with this immortality drug, we’ve reverted to our basest selves, since the substance develops the body to a caricatured Western beauty standard.
Most of its observations are this level of derivative, others—mostly contained to a series of throwback, absurdly sexualized commercials seen on Jaxxon’s TV—are so gonzo that you can almost understand why they spoke to producer Steven Soderbergh’s mostinstincts. This superficial world of superficiality can still lead to some amusing images, like the regular-sized Arias looking like a 97-pound weakling having a bad time at a Charles Atlas sex party.
It’s in these sections where the aesthetic of the movie actually gets closer to its intention, finding the uncanniness in subverting our expectations for nostalgia with modernity. But for most of the film, whether it’s hammering its obvious insights or running through its petard-hoisting plot,is utterly empty.
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