Making one long for his dreadful Saw II, III, and IV, director Darren Lynn Bousman’s Repo! The Genetic Opera rips off heavy metal and horror aesthetics to absolutely dismal effect. With junky comic book-paneled sequences, musical numbers marked by graceless, strident melodies and generic chunk-chunk guitars, and a goth style drenched in gore, Bousman’s rock-opera plays like a spastic, semi-incoherent extended music video for Type O Negative by way of Evanescence. It’s a faux-grim, pop-inflected mood piece with a legion of obvious influences (Moulin Rouge!, Rocky Horror, every other metal act from the last twenty years) and yet barely a coherent idea in its mushy head. Revolving around a future in which genetic manipulation is a designer fad, and repossessions of purchased organs are carried out by mega-corp GeneCo’s dreaded Repo Man (oooh, health care scariness!), Bousman’s script is almost as bumpy and inane as his cinematography is flashy-cruddy. Paris Hilton is well cast as a surgery-addicted heiress but, like castmates Paul Sorvino, Bill Mosley and Alexa Vega, she can’t sing, and any tongue-in-cheek energy to her performance is lost amidst the director’s messy staging and his plot’s inane machinations. On the other hand, Sarah Brightman, playing a singer with robot eyes, and Anthony Stewart Head, as the Repo Man, certainly can sing, but the lyrics stuffed into their mouths are of an embarrassing sort, thereby further emphasizing the fact that there’s no rhythm or spark to the front-and-center songs. Given its baroque Grand Guignol outlandishness, Repo! is clearly aiming for cheesy camp, but its across-the-board awfulness is, ultimately, just plain ol’ awful.