Kenneth, A shy copywriter with an office crush and an empty life orders "Nikki," a silicone lady friend to fill the void. When he needs to help office temp, Lisa, the object of his ‘real life’ affections, they form a tentative relationship, which becomes threatened by the hold Nikki has over him. Kenneth then finds himself in a bizarre love triangle, caught between what is ‘real’ and what is not.

“Just because she isn’t alive doesn’t mean she isn’t real!” – Kenneth to Lisa on Nikki.

First time Writer/Director, Robert Parigi has his pedigree in the production of horror and sci-fi TV series’ and his debut feature isn’t so much of a departure. Feeling like a cross between Lucky McKee’s slightly earlier May (2002) and an episode of The Outer Limits, Parigi’s take on the creepiness of inanimate objects is a worthy addition to the genre.

Desmond Harrington (The Hole, Wrong Turn) plays Kenneth, an unhappily reclusive office worker who doesn’t seem too well integrated into social situations, much less be able to get himself a girlfriend. When he’s not in the office working on ‘The Manual’ for changeable boss, Novak (the ubiquitous Rip Torn,) he’s frequenting the local sex shop, dubiously eyeing the wonders it has to offer. Feeling awkward around pretty blonde colleague, Lisa (Melissa Sagemiller,) Kenneth invests all his credit on the fiendishly expensive “Nikki” who, the internet promises, will fulfil his every desire, and whom he has, rather worryingly, had made to the specifications of Lisa. Things are going swimmingly for the ‘couple’ until some after-hours help gives Kenneth the opportunity he needs to get closer to Lisa, in a professional capacity, of course. As the two become closer, Nikki appears to be showing signs of jealousy, obsessing over Kenneth and threatening his delicate situation with Lisa. Soon, Kenneth loses grip on the situation and his life begins spiraling out of control. Is he going mad or can Nikki really have this hold over him?

It’s a real shame that Parigi seemed to lack the confidence of his ideas and pacing as he ditches the initial creepiness and steady working of the plot for a more outright horror ending. Where the first half favoured subtle plot development and a disturbing atmosphere, the second goes for unashamed shock value. Though I cannot deny that the end has a certain cruel and unexpected humour, it was the clever build of the beginning that gave this little flick its neat edge.

The very lovely Desmond Harrington does at first seem like a strange choice as it seems hard to believe he’d have need for a silicone doll. However, this does work well as it’s his social ineptitude that holds him back, not his looks, adding to how insecure and therefore sinister he is (cunningly disguising his good looks beneath glasses, geeky hair do and dodgy clothes only to reveal them with a miraculous transformation later on would have been both cliche and ineffective.) Also, this is about companionship and possession rather than purely the relief of sexual frustration, as is shown in the sex shop (more on this in a moment.) Sagemiller is perfectly cast as the nice girl you could really take home to Mum and Torn is his usual uniquely emphatic self. Casting wise it is a bit of a treat as not only do we have Rip Torn, but also that staple of the horror genre; Udo Kier, playing Kenneth’s flamboyant landlord, Radley. Unfortunately though, Kier is woefully underused in a role which had potential for more but lacked any real development.

Though this film is ‘horror’ it isn’t so in the traditional sense so fans of a blood and guts bonanza beware. Similarly to McKee’s fantastic May, though there is more tangible horror towards the end, it is more a subtle atmosphere and much is left to the viewer as you can never be quite sure whether what is happening is real or the product of a sadly deranged mind. What Parigi really builds on is the horror of the emptiness of modern living and the commodification of sex, which are, of course, inextricably linked. Kenneth lives such an insular life; the office by day tirelessly working on ‘The Manual’ (the broad mundaneness generalised in its title) and home to his apartment to eye the endless possibilities of the internet. His only departure from these environments seems to be the dungeon-like sex shop which, bathed in garish lighting like something from Creepshow and complete with hideously disfigured man behind the counter (again, possibly Kenneth’s imagination stemming from sexual fear) is certainly aimed to represent the horror and fear behind sex, particularly when separated from genuine intimacy. Despite the abrupt about-turn towards the end, this is still an intelligent and original ‘horror’ for its own working of a familiar plot and for its well thought out and presented ideas about the nightmarish realities of modern living.

An initially intelligent and subtly creepy little flick, this does bolt towards the end. Even so, Love Object still remains a superior and much more engaging little gem than most modern horrors. A claustrophobic atmosphere and very well thought out plot makes this a 7/10