It would seem that Tom Six’s The Human Centipede 2: Full Sequence just cannot escape controversy, even after being released in the US and here in the UK. The US made the film available uncut, however here in the UK the film was initially banned by the BBFC for it’s vile content. That decision was changed a few months back and the film was allowed to be released, although almost four minutes had to be cut in order for it to be granted an 18 certificate. The Human Centipede 2 has now had a barely noticeable cinema run and is now available on DVD here in the UK.
While the film was enjoying making headlines here due to it being banned, it was said that both the US and Australia were releasing the film uncut, with an Australian trailer even using the films horrific scenes as a means to advertise it. A trailer was made for the Australian film fans showing viewers entering a dodgy van where they could watch the film and the trailer showed “actual footage” of viewers being sick and running away in disgust or crying, followed by the tagline “banned in the UK, cut in the USA” and claiming Australia was the only place to see it uncut. A great marketing technique, but one which has backfired as the film will no longer be available in Australia uncut, in fact, it won’t be available at all!
After playing at Brisbane’s International Film Festival in November with an R-18+ certificate, the film went for classification by the Australian Classification Board (ACB) last Monday. The ACB said the film was “gratuitous”, “exploitative” and “excessively violent” and has stopped the film from being released in cinemas. So, once again the film is making headlines, and once again Tom Six is getting free publicity to sell his film. The bad thing is that with the film now available on regions 1 and 2, banning the film in Australia won’t stop fans being able to get hold of it, it just encourages illegal activity. Yet another silly decision by censors, when will they learn!
To read all about the trouble the film faced here in the UK click here
By Matt Wavish