Am i the only one who thinks........Average?

It was OK. I don't see why everyone loves it so much. It wasn't very smart or deep or well-directed.

Excellent and certainly provocative... If nothing else, the film is a real conversation starter.

This is a dark and sometimes deeply uncomfortable drama

Most people who have seen this movie compare it to Silence of the Lambs, which there's a definite allusion to, no question. However, the delivery of this German thriller is very effective in that you think half way through you have guessed what the outcome will be - well, think again. I am generally good at guessing the outcome of many movies (I even guessed the end to Sixth Sense), but I wasn't as smart as I thought with this one. It is very clever, very clever indeed. I can liken its end to another brilliant film called Incendies, which totally almost takes your breath away, as is the same with Antibodies. It packs a gritty punch and is quite difficult to watch in parts - I found myself wincing quite a bit. I just wish all thrillers were as exciting and thrilling as this. If you liked Se7en, you'll definitely like this. I never guessed the end of that either. Enjoy!

"Antibodies" tips it hand far too early and closes with an inexplicable third act, but succeeds in creating an unsettling atmosphere with a palpable sense of terror throughout. Slick and sadistic, this German serial killer thriller delivers some chills respectively, but it's not nearly as clever or as compelling as it thinks it is. Serial killer Gabriel Engels (Andre Hennicke) is captured while fleeing from his apartment, because he is the prime suspect in the killing a young girl several years earlier. Small-town cop Michael Martens (Wotan Wilke Möhring) has been investigating the 18-month-old unsolved murder, and may now have his big break in the case. Michael must go to the big city to interrogate the suspect, in the hopes that he'll get a confession. His decision unexpectedly pays dividends, and details slowly begin to surface. Möhring's deeply conflicted performance anchors the movie, as the confession from Engels and his mind games slowly push Michael back towards his own hometown. But soon, as Martens comes under the influence of Engels, he finds himself in a dark place and questions his own faith, as well as his entire existence. The plot twists and mind games that should shock and surprise are transparent and obvious, while director Christian Alvart tips his hand too early in a film where the run time clocks in at two plus hours. The third act of "Antibodies" shifts its primary focus to Michael and his son, and it creates one of the strangest biblical allusions I've ever seen. The story shifts from the profile of a serial killer to that of a man's existential identity crisis, and then to his redemption, when he didn't seem to deserve it in the first place. Desperately attempting to create the illusion of something profound, it backfires and comes across as absolutely absurd. In comparison to other films in the serial killer genre, this one hovers somewhere just above middle of the pack at best.

German screenwriter and director Christian Alvart's second feature film which he wrote, premiered at the 4th Tribeca Film Festival in 2005, was shot on locations in Berlin and Lower Saxony in north-western Germany and is a German production which was produced by German producers Boris Schönfelder and Theo Bal, and co-produced by Christian Alvart and German producer Rainer Kölmer. It tells the story about farmer and police officer Michael Martens who lives in a catholic village in the German countryside called Herzbach with his wife Rosa, their daughter Sara and their 13-year-old son Christan. The police officer and citizens in the small community have been marked by an unsolved serial murder case for the last six years and is still troubled by suspicions and doubts, but then a special unit headed by chief commissioner Seiler arrests a suspect named Gabriel Engel in Berlin. A long-time manhunt is possibly over and the inhabitants of Herzbach can put away some of their worries, but then all of a sudden a young girl named Lucia Fiedler vanishes and Michael Martens has to confront the killer who has been haunting him for years. Precisely and engagingly directed by German filmmaker Christian Alvart, this harrowing and unsettling fictional tale draws a riveting portrayal of a police officer and family man who while investigating a murder is led astray and drawn into the utterly insane though calculating mind of paedophile serial killer. While notable for it's colorful milieu depictions, stellar production design by German production designer and art director Christian M. Goldbeck and the fine cinematography by German cinematographer Hagen Bogdanski, editing by film editor Philipp Stahl and use of sound, this character-driven and plot-driven horror story which has a fresh approach to the serial killer genre depicts a mindful study of character. This finely tuned independent film about a policeman's afflicting investigation is impelled and reinforced by the poignant atmosphere which is emphasized by it's religious undertones and dark themes, cogent narrative structure and the commendable acting performances by German actors Wotan Wilte Möhring, André Hennicke and Heinz Hoening. A consistently intriguing psychological thriller which gained, among other awards, the award for Best Actor Wotan Wilte Möhring at the Málaga Spanish Film Festival in 2005.

I heard a lot about this German movie, but since I tend to be majorly disappointed by my countries movie efforts I skipped it. After the directors recent movie "Case 39" which I really liked although a lot of it was obviously ripped off from recent movies I though I'd also give "Antikörper" a try. But wow.... the movie has the look and feel of a ordinary German TV production and the general problem many German productions... it copies Hollywood styles in a redundant fashion and spices it up with inferior acting and ordinary pictures.The basic plot of "Antikörper" is such an incredibly blunt rip-off from what you at first parallel to "Silence of the lambs" but you can smell the ending after about 20 Minutes and all that is a plain and dumb "Seven" rip-off, which (fasten your seat belts" even dares changing it to a happy end.You get the smart serial killer, the insecure cop and those interrogation sequences Hopkins made so famous. I guess they know how flat out plagiarized their movie is, so they even includes some smug jokes about "Silence of the lambs". The interrogation sequence (like many other scenes) is edited choppy and uneven. The movie looks as German as it gets and then even switches to unnecessary and wiggly helicopter-scenes like in "Silence...". Ridiculous. The acting of the cops son is bad and hints are dropped in so obviously that you know whats coming up as soon as you see red squares in this movie and the other red herrings get really boring.A lot of the dialog is painfully uneven, the tough cop and everything around him is as cheap as it gets. The script is a complete rip-off and even the cheesy "twist" in the end which refers back to the regular religious comments felt like I saw the ending in another movie... at least they stole from a third one here. Anyway, it feels like someone just edited in a scene to show off that they can do some decent CGI after a lot before looked fake.I don't get why this movie was so well received. I think its really lame and can't understand why someone would plagiarize such famous movies with such an inferior clone. I have to admit that if you look close the later movies of Alvart suffer an equal lack of core inspiration but neither the disappointing and disjointed Pandorum nor "Case 39" the hundredth "Evil Children Movie" alone in the last year come near the flat-out plagiarism of "Antikörper".