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Why do we keep remaking old trends?

The first lines spoken in The Soska Sisters latest feature is something of an odd choice seeing that the film itself is a remake of David Cronenberg’s science fiction body horror feature that was released back in 1977, but then the ‘Twisted Twins’ have built a reputation on face-lifts and transformations within their features that it should come as no surprise that should revamp a cult classic.
Cronenberg is clearly an inspiration in the Soska Sisters previous features where body horror, mutilation, and the butchering of the beautiful is constantly a running theme through their narrative.
From their low-budget debut feature, Dead Hooker In A Truck, they have been willing to their bodies on the line for the sake of their vision and in doing so, continuously look to raise the stakes, but arguably haven’t attained this since their brilliant sophomore outing behind the director’s chair with American Mary.

So, how does this modern transformation of Rabid fair and does it amount to the twin directors’ previous outings?

I have enjoyed watching the Soska Sisters’ journey, even their paint by numbers WWE venture, See No Evil 2, and I found that Rabid had the right pulse to entertain and satiate the gruesome, and bloody fascination with the human aesthetic and its ultimate destruction.
We cast ourselves deep in the fashion world, where there is an expected elegance and if you don’t measure up, then you’re cast aside and considered insignificant. 

This is where we meet our lead protagonist, Rose (Laura Vandervoot) who works for a fashion designer, Gunther (Mackenzie Gray), but struggles to meet her mark.
One night she is invited out by photographer Brad (Ben Hollingsworth) and believes that her luck could potentially be turning, but soon discovers that it’s a pity date, set up by her best friend, Chelsea (Hanneke Talbot). Humiliated, Rose attempts to flee on her bike but is plowed down by an unseen vehicle and rushed to hospital leaving her disfigured and more depressed.
It is only when she learns of a scientific breakthrough that could potentially restore her figure that Rose seizes the opportunity to be considered normal. Once again though, trust comes into question as we are only willing to expose the mask we choose to wear with people and only every so often do we allow our true selves be seen.
This is a common theme throughout the movie where we should question everyone’s motives and always be suspicious of the characters we encounter, even within the medical profession as hinted by Stephen McHattie’s doctor when he asks his assistant to lend a deformed Rose a mirror, only to contradict himself by saying that Rose should never look at a mirror.

So, Rose undergoes a significant and delicate operation that not only restores her looks but metamorphosed her whole demeanour with mesmerising effect on her persona. Whilst her life suddenly flips for the better, Rose is consumed with lust for blood and meat that sends her into a frenzy and unleashing a creature within that leaves her victims with something that closely resembles rabies, but spreads as quickly as the black plague. 

From here on in the action becomes frenetic and just as uncontrollable as the disease, which is obviously a directorial choice, but I can understand some viewers who might find this approach grating. 

Stuck between pursuing her dreams of having her own design on the catwalk and recognition of her style, and seeking medical aid, Rose steers closer to self-destruction and chaos.


The Soska Sisters are back in their domain of stripping the human facade and revealing the tortured soul lurking within in their latest turn in the directors’ chair.
Yes, it’s a remake, but there is enough spin on the original and more of the visual style and substance that makes Jen and Sylvia a force to be reckoned with when they are at their best.
As always their films are beautifully shot, and manage to infuse some raw energy within the beats, and Rabid continues to project the Soskas into a twisted limelight that feels gnarly and fresh.



GU Film House, Adelaide

Event Cinemas, George St, Sydney

Event Cinemas, Innaloo, Perth

Sat, 2nd NOVEMBER, 8PM

Capitol Cinemas, Manuka, Canberra

Sun, 3rd NOVEMBER, 6PM

Event Cinemas, Myer Centre, Brisbane

  • Saul Muerte