Repossess This! Harvesting organs reduces Repo Men to the sum of its bloody parts

Sharing nothing in common with Alex Cox's 1984 punk-rock-crazy Repo Man yet more aligned with Darren Lynn Bousman's 2008 film Repo!: The Genetic Opera, this Repo Men has some wit, violence and gore, but also some problems. Like Saw VI, this film provides commentary (albeit only at surface level) on the current health care debate.
Repo Men introduces us to the future with a news voiceover montage of how things came to be: global recession, fifth stage of war in Nigeria, technological breakthroughs. A corporation called The Union manufactures technologically sophisticated artificial organs, or “artiforgs” marketed and sold to gullible customers at exorbitant prices. The downside lies in the fine print that tells patients that if payments aren't made, hotshot repo men are sent to cut them open and yank out the bionic organ. Then, of course, you die.

Funny Games director Michael Haneke's loudly lauded black-and-white drama, The White Ribbon, isn't a film to be enjoyed. It's not exactly a film to be endured, but it is closer to that end of the entertainment spectrum. Bob Dylan once said to a Time magazine reporter who asked if the audience at the concert was entertained by his performance, “Who wants to go get whipped? And if you don't want to go get whipped, then aren't you really being entertained?”
In Funny Games, Haneke questioned the use of violence in films for entertainment, but here he theorizes on the origins of the violence committed by the Nazis. With Funny Games, the director was vocal about how he expected his audience to react – he wanted them to walk out once the child gets shot by the intruders. I read this in an interview after seeing the film, of which I did walk out. I didn't want to be entertained, and he didn't want to entertain me.