Archive for the Joe Spinell Films Category

MANIAC (2012)

Posted in 2013, Art Movies, Based on Classic Films, Cult Movies, Disturbing Cinema, Exploitation Films, Grindhouse, Indie Horror, Intense Movies, Joe Spinell Films, Kinky Killers, LL Soares Reviews, Psycho killer, Remakes, Serial Killer flicks, Sleaze with tags , , , , , , , on July 16, 2013 by knifefighter

MANIAC (2012)
Movie Review by L.L. Soares

 Maniac

Yet another in a long list of  movies that do not need to remakes, William Lustig’s original MANIAC (1980) featured the amazing Joe Spinell (who also provided the story and co-wrote the screenplay) as Frank Zito, a violent psychotic who kills women and then scalps them, so he can attach their hair to mannequins that surround his bed like lovers. Visceral stuff, made all the more effective by the teaming of Lustig, Spinell, and effects maestro Tom Savini at the peak of his powers. This was one movie that lived up to its title, and yet there were tender moments as well, focusing mostly on the friendship (and blossoming romance?) between Spinell’s Zito and Caroline Munro’s photographer, Anna D’Antoni. It didn’t hurt that Munro was one of the most beautiful women to grace celluloid at the time. But Spinell somehow, through this relationship, made you sympathize with a man who is otherwise a deranged animal. You somehow cared about Zito and wanted to see him redeemed. Of course, in these kinds of movies, redemption eventually gives up and steps aside, so that punishment can take control of matters.

In the new version of MANIAC (2012), Franck Khalfoun gives us a strange recreation of the original film, with just enough quirks and differences to make it enjoyable on its own terms. Even if it comes nowhere near the gut punch of the original. This time, the script is co-written by Alexandre Aja, the director who has given us such recent horrors as the HILLS HAVE EYES remake (2006), MIRRORS (2008) and who is currently adaptating Joe Hill’s HORNS for the big screen. As for Khalfoun, he previously directed the murder in an underground parking garage flick, P2 (2007) and has acted in Aja films like HIGH TENSION (2003) and PIRANHA (2010).

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The new MANIAC stars Elijah Wood, oddly enough, perhaps the exact physical opposite of Joe Spinell. Where Spinell was genuinely creepy and yet always had a strange vulnerability to him, Wood seems slight and wimpy, but has a kind of strangeness to him that could easily be perceived as a capacity for violence. This aspect of Wood has been exploited previously in SIN CITY (2005), where he played an intense and merciless hit man with a penchant for eating human flesh. So this is hardly the first time someone saw Elijah Wood and thought “Hey, he might actually be an effective psycho.”

In MANIAC, however, Wood’s appearance and attributes are given only a small chance to shine, since the movie also adopts the rather odd gimmick of giving us the story from the killer’s point of view. What this means is that, throughout most of the film, we see everything through Frank Zito’s eyes. So whether or not Wood looks the part, we only see him occasionally, when he happens to look at himself in a mirror, for example.

Elijah Wood is actually quite good in the remake of MANIAC. I just wish he was onscreen more.

Elijah Wood is actually quite good in the remake of MANIAC. I just wish he was onscreen more.

This POV seems very artificial, making us very aware that this is not a gritty tour of the gutter like the original film, but something different. The new MANIAC strives toward art, towards being something more than just another killer on the loose flick. And yet, considering the subject matter, this arty direction doesn’t always work. We’re not watching a MANIAC film for artistic merit. We want to see a psychotic on the verge of complete madness, and the POV actually distances us from the meat of the film, even as it thinks that it is bringing us closer to the madman, by showing the film from his eyes.

The POV works some of the time. It’s not a bad thing, per se. There are some scenes that use this to nice effect. But in a movie like this, it doesn’t really elevate the story in any way. It’s just a fancy trick that tells us “No, you don’t have to really see Frank get his hands dirty.”

I actually like Elijah Wood. I’m not really a fan of projects like the LORD OF THE RINGS movies (or the HOBBIT films), but he’s been in plenty of other things that have impressed me. I think I first noticed him in Ang Lee’s THE ICE STORM (1997), and he has a kind of intensity that gives him a lot of range. I even enjoy him in the odd FX TV series WILFRED, where he plays a man whose best friend is a man in a dog suit (the rest of the world sees it as an actual dog). But the point is, Wood is kind of fearless and open to playing a wide variety of roles, however offbeat, and for what he does in MANIAC, I think he does a decent job. In a way, though, I would have preferred to see the whole “from the maniac’s eyes” viewpoint ditched, so that we could have really enjoyed Wood’s performance to the fullest.

In the new movie, Anna is played by Nora Amezeder as a French photographer who is drawn to Frank via his strange little shop where he carries on his family’s business of restoring antique mannequins. She uses mannequins in her photographs for artistic effect, and his equally artistic display of actual mannequins might just be the perfect complement to her photos in her upcoming gallery show. Can she borrow some of his work? He catches her taking pictures of his shop’s display window and invites her inside. The fact that she sees beauty in the same objects he does creates an immediate connection. And the groundwork is there for the one normal relationship in Frank Zito’s life.  Sadly, whatever normality there is between them won’t last for long. There’s no way it could.

Unfortunately, no matter how good Elijah Wood is as Frank Zito, he can never come close to Joe Spinell's performance in the original film.

Unfortunately, no matter how good Elijah Wood is as Frank Zito, he can never come close to Joe Spinell’s performance in the original film.

Wood’s Frank Zito has mother issues, after all, that go as deep as Norman Bates’s. We see flashbacks to Frank as a child, forced to watch as his mother has sex with all comers, whether its two sailors at once in her bedroom as he peers out from between the slats of a closet door, to a late night assignation in a parking garage, Frank wants his mother as much as he is repelled by her, and it is only a matter of time before relationships he has with other women dovetail into his feelings for his mother—even the one he has with poor Anna.

Feeling a possessive jealousy for whatever woman he comes across that he finds attractive, that same need to have them always turns into a stronger need to punish them. And therefore, he can’t really have any enjoyment with them while they are alive. He can only truly possess them (and come close to “loving” them) when they have been recreated, with their bloody scalps stapled onto the heads of his mannequins. In the darkness of his apartment, he convinces himself that the mannequins are the real women, and that they are now in an environment he can control. It is only then that he can show them that he cares.

So he drives around the city late at night, picking victims at random based on how they elicit lust in him, and making quick work of them. He tries to break the cycle, even joining an online dating service and meeting Lucie (Megan Duffy), a tattooed beauty who actually seems to act motherly towards him (uh oh!) when he complains of a migraine at the restaurant they agree to meet at, and who takes him back to her place afterwards for some almost-successful seduction. You really think Frank might finally loosen up and enjoy himself, but in the end, we know that’s impossible.

There are some interesting set pieces, including Frank hunting down Anna’s agent, Rita (Jan Broberg), breaking into her glorious Manhattan apartment to kill her in her bath tub. This sequence is done quite well

I liked this new version of MANIAC. It’s a good film, despite its flaws. It’s just easier to judge it as a stand-alone film about a psycho played by Elijah Wood. To compare it to Lustig’s original is to its detriment. There is no way this movie could deliver the goods like the original movie did.

I give it three knives.

© Copyright 2013 by L.L. Soares

LL Soares gives the 2012 version of  MANIAC ~three  knives.

 

(Despite being made in 2012, the new version of MANIAC is only now getting limited release in theaters in some cities. It is available on cable OnDemand in some markets as well.)

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THE LAST HORROR FILM (1982)

Posted in 2010, 80s Horror, Horror DVDs, Joe Spinell Films, LL Soares Reviews, Psychos, Serial Killer flicks, Slasher Movies, Trasmissions to Earth with tags , , , , , , , , , on December 14, 2010 by knifefighter

TRANSMISSIONS TO EARTH: THE LAST HORROR FILM (1982)
DVD Review by L.L. Soares

I’m a big fan of Joe Spinell. He was a character actor who had small roles in tons of famous movies, from the first two GODFATHER films (he played Willi Cicci), to ROCKY and TAXI DRIVER (both 1976). For a long time, he was a recognizable face who had limited screen time, until he started starring in low-budget horror flicks like the gore classic MANIAC (1980) where he played the insane killer Frank Zito, and THE LAST HORROR FILM (1982).

In THE LAST HORROR FILM, Spinell plays Vinny Durand, a cabbie who hangs out outside a comic book store when we first see him, reading a horror movie magazine in his cab, until a bunch of delinquents hanging out on the street corner start to harass him. He lives with his mother (Joe’s real life mother, Mary Spinell, who’s a scream!) and is obsessed with glamorous scream queen Jana Bates (Caroline Munro, who we also saw in MANIAC).  He has pictures of her all over the walls of his bedroom and he keeps telling his mother he’s going to be a director and make a movie with her someday. His mother thinks he’s nuts.

Meanwhile, Jana has arrived at the Cannes Film Festival to unveil her new movie. So what does Vinny do? He takes some time off and goes to the French Riviera to convince his favorite actress to star in his first motion picture.

Everyone thinks Vinny is loony to follow his dream, and he is. But that doesn’t stop him from setting up shop in a hotel room at Cannes and do his darndest to get an audience with Jana and convince her to be his star.

But to get to her, he has to first get through her entourage, which includes her womanizing ex-husband, producer Bret Bates (Glen Jacobson), and her new boyfriend, who just happens to be the director of her new film.

Gradually, people associated with Jana start to meet violent ends, including having their throats cut, bullets to the head, electrocutions in their baths and even a chainsaw through the skull. But Vinny has a hard time getting close enough to Jana to talk to her, and is getting increasingly frustrated (at one point he breaks into her bathroom window with a hunting knife, but she gets away). In between each violent incident, Vinny takes the time to call his mother back in Brooklyn to let her know how he’s doing.

Vinny even stalks Jana to a castle in the country owned by a rock star friend of her boyfriend’s. He thinks the place is the perfect location for the finale of his epic movie THE LOVES OF DRACULA (and yes, he intends to play Dracula).

A twist ending completely hoodwinks us and ends the movie on a laugh-out-loud note.

Spinell is so interesting because he in no way resembles the typical leading man type. He’s hulking, pock-marked, and very creepy. But there’s also something very endearing about his character here. Despite all his fanatical behavior (the original title of this movie was FANATIC) and creepy stalking around, you can’t help but root for the guy to make his movie and prove everyone wrong.

Vinny Durand actually reminded me a lot of Robert De Niro’s character, Rupert Pupkin from Martin Scorcese’s THE KING OF COMEDY (also from 1982). I think Vinny and Rupert would have gotten along just fine together. They’re both socially-awkward, obsessive stalker misfits with a dream, who live in their mothers’ basements.

Director David Winters does a good job with a miniscule budget (he actually made this movie guerilla-style, filming around the actual Cannes Film Festival without a film permit), and Spinell proves himself to be a capable star. And it’s nice to see Joe reunited with his MANIAC co-star, the very beautiful Munro.

Unlike the ultra-serious and actually scary MANIAC, which has gone on to become a midnight movie cult classic, THE LAST HORROR FILM actually has a sense of humor and plays games with our expectations. THE LAST HORROR FILM is in no way in the same league as MANIAC, which is still Joe Spinell’s finest hour, but it’s a lot of fun, and definitely worth checking out if you’re a Joe fan.

The DVD of this film – rescued from obscurity by TROMA Studios – also features a rare short film called MANIAC 2: MR. ROBBIE (1986), which you can find in the Special Features section of the disk, and which is also worth checking out. As far as I can tell, this movie has nothing to do with MANIAC, despite the title.  Joe plays a kids’ show host named Mr. Robbie (not Frank Zito), who empathizes with the letters he gets from poor tykes who have abusive parents, and seeks to right some wrongs. For a short film, it’s pretty satisfying and was directed by Buddy Giovinazzo, who also directed the terrific (but very bleak) low-budget film COMBAT SHOCK (also from 1986).

THE LAST HORROR FILM might not be for everyone, but if you’re a Spinell fan, you won’t want to miss it. And the ending is guaranteed to crack you up.

© Copyright 2010 by L.L. Soares