Love Object

REVIEW
Love Object harks back to the confrontational American independent horror films of the 1970s, its unsettling depiction of madness and erotic perversity recalling such disquieting films as Polanski's The Tenant and Paul Bartel's Private Parts. Yet the film is a wholly original work, and this chilling psychological horror effort from first-time writer-director Robert Parigi is a most disturbing American genre title.
Lonely, introverted technical writer Kenneth (Desmond Harrington, Wrong Turn) develops a fondness for internet porn, and winds up purchasing "Nikki," a life-sized, anatomically-correct silicone sex doll. After time, Kenneth also begins an office romance with a sweet co-worker, Lisa (Melissa Sagemiller), but he discovers that he is unable to rid himself of the belief that "Nikki" is a flesh-and-blood rival love interest—and one with a nasty jealous streak. As he strives to keep "Nikki" secret from Lisa, and from his domineering boss (Rip Torn), Kenneth begins to unravel—and, as with all great American films, this fortunately (for us) involves power saws and bondage harnesses. Love Object marks a highly promising debut for Parigi, who creates an unnerving, character-driven horror film with pointed metaphorical commentary on how technology has contributed to the depersonalization of even our most private lives. Just be aware that Love Object ultimately takes the viewer into some truly shocking, squirm-inducing territory. But what do you expect from a film in which cult icon Udo Kier (as Kenneth's nosy neighbor) is the most normal guy in the movie?