Greetings And Salutations, and welcome to my review of The Last Horror Film; here's the breakdown of my ratings:
Story: 1.25 Direction: 1.25 Pace: 1.25 Acting: 1.25 Enjoyment: 1.25
TOTAL: 6.25 out of 10.00
Three things surprised me about The Last Horror Film - The Story, I wasn't expecting a brilliant piece of narrative, but I found it more substantial than Maniac. The Direction - especially the use of news broadcasts; it's a marvellous way to move the story forward while setting the scene and displaying the world's frame of mind at the time. The Audacity - the crew clearly used stock film or their personal footage of the Cannes Film Festival; at least it saved on set costs.
The primary element I admired most about the story was its complexity and objective. We have the Walter Mitty character of Vinney, who suffers from the misconception that he's a great movie director who is fated to make the best horror flick ever starring the light of the silver screen, Jana Bates. Jana is an actress who has split from her producer husband and taken up with her director boyfriend. All three of them are in Cannes to promote her latest film, and she's up for the Best Actress award. Vinney scrounges up enough money to fly over to the festival with his camera and a plethora of Janna Bates photographs. Once he's settled in his hotel and his piccies are reverently pinned up, he heads out on his mission to get Jenna in his film. It's his destiny. However, Vinney isn't in the best of health. His mind doesn't just delude him; it berates him and stresses him to the point of a breakdown. And, when he cannot get a meeting with Janna, his anxiety grows...and the murders begin. The writers don't do a terrible job presenting Vinny's mental illness and the oddness it creates in the real world. And when we're introduced to Vinny's Ma, it becomes clear why he's a broken man. Nothing that he does is right or good enough, and she's all too willing to put him down and call him and his dreams crazy. But is he deranged enough to butcher people? The other individuals in the story are okay and present themselves credibly. However, this is chiefly Vinny's showcase.
The director gives the audience a hearty slice of respectable moviemaking. Not only do we have some smooth pans and close-ups, but he also stretches his imagination with a few more artistic clips. I particularly liked the scene where Vinney has fallen down the rabbit hole into wonderland, and we see him cavorting in the dark while a full-facial of Jana is projected on his bare chest. Very artistic and, in conception, a very eerie image. But the thing that brought a smile to my face most was the use of Hotel lobbies, outside locations, and the odd celebrity appearance. Well, if you're in Cannes during the film festival, why not take advantage of the free crowds, the free sets, and the free stars? What's more, it works brilliantly to set the scene and add to the story's credibility, as do the radio broadcasts. We hear about the assassination attempt of Reagan and the subsequent connection the assassin believed he had with a young Jodie Foster. Then the news moves on to the murders in Cannes, which helps to propel the story along - Ingenious concepts that work well. The broadcasts also help pull the viewer deeper into the film, especially if, like me, you can remember all the events that happened - nostalgia is always a good hook.
It's good that the story and the filmmaking are decent because the cast is hit and miss. Luckily, they are more on the hit side. For the most part, Joe Spinell is terrific as Vinney, even in the hammed-up moments of his dreamscapes when he's the Oscar-winning director are splendid. However, when he gets all wet-eyed and mopey in the phone booth and around dear old ma, then I had a problem. He comes across as Spinell acting as a crestfallen Vinney, and you should never think, hey, this guy's acting. It should be natural and realistic. And there's something strange going on with Caroline Munro. She's there on the screen, and she's not dreadful, so why can't I make her out as a distinct character? It's hard to describe. It's like her entire persona, written and physical, is artificial and illusory - which it is, but in The Last Horror Film, I can see and sense it. Weird!
I'd willingly recommend The Last Horror Film to lovers of the Darker Thrillers and Mysteries. It's entertaining, nostalgic, and well-made. It's not a rush out and grab a copy, but it is worthy of your time for one watch should you come across it on a streaming service or in the hands of a friend.
Please feel free to visit my Killer Thriller Chillers and The Game Is Afoot lists to see where I ranked The Last Horror Film.
Take Care & Stay Well.
Story: 1.25 Direction: 1.25 Pace: 1.25 Acting: 1.25 Enjoyment: 1.25
TOTAL: 6.25 out of 10.00
Three things surprised me about The Last Horror Film - The Story, I wasn't expecting a brilliant piece of narrative, but I found it more substantial than Maniac. The Direction - especially the use of news broadcasts; it's a marvellous way to move the story forward while setting the scene and displaying the world's frame of mind at the time. The Audacity - the crew clearly used stock film or their personal footage of the Cannes Film Festival; at least it saved on set costs.
The primary element I admired most about the story was its complexity and objective. We have the Walter Mitty character of Vinney, who suffers from the misconception that he's a great movie director who is fated to make the best horror flick ever starring the light of the silver screen, Jana Bates. Jana is an actress who has split from her producer husband and taken up with her director boyfriend. All three of them are in Cannes to promote her latest film, and she's up for the Best Actress award. Vinney scrounges up enough money to fly over to the festival with his camera and a plethora of Janna Bates photographs. Once he's settled in his hotel and his piccies are reverently pinned up, he heads out on his mission to get Jenna in his film. It's his destiny. However, Vinney isn't in the best of health. His mind doesn't just delude him; it berates him and stresses him to the point of a breakdown. And, when he cannot get a meeting with Janna, his anxiety grows...and the murders begin. The writers don't do a terrible job presenting Vinny's mental illness and the oddness it creates in the real world. And when we're introduced to Vinny's Ma, it becomes clear why he's a broken man. Nothing that he does is right or good enough, and she's all too willing to put him down and call him and his dreams crazy. But is he deranged enough to butcher people? The other individuals in the story are okay and present themselves credibly. However, this is chiefly Vinny's showcase.
The director gives the audience a hearty slice of respectable moviemaking. Not only do we have some smooth pans and close-ups, but he also stretches his imagination with a few more artistic clips. I particularly liked the scene where Vinney has fallen down the rabbit hole into wonderland, and we see him cavorting in the dark while a full-facial of Jana is projected on his bare chest. Very artistic and, in conception, a very eerie image. But the thing that brought a smile to my face most was the use of Hotel lobbies, outside locations, and the odd celebrity appearance. Well, if you're in Cannes during the film festival, why not take advantage of the free crowds, the free sets, and the free stars? What's more, it works brilliantly to set the scene and add to the story's credibility, as do the radio broadcasts. We hear about the assassination attempt of Reagan and the subsequent connection the assassin believed he had with a young Jodie Foster. Then the news moves on to the murders in Cannes, which helps to propel the story along - Ingenious concepts that work well. The broadcasts also help pull the viewer deeper into the film, especially if, like me, you can remember all the events that happened - nostalgia is always a good hook.
It's good that the story and the filmmaking are decent because the cast is hit and miss. Luckily, they are more on the hit side. For the most part, Joe Spinell is terrific as Vinney, even in the hammed-up moments of his dreamscapes when he's the Oscar-winning director are splendid. However, when he gets all wet-eyed and mopey in the phone booth and around dear old ma, then I had a problem. He comes across as Spinell acting as a crestfallen Vinney, and you should never think, hey, this guy's acting. It should be natural and realistic. And there's something strange going on with Caroline Munro. She's there on the screen, and she's not dreadful, so why can't I make her out as a distinct character? It's hard to describe. It's like her entire persona, written and physical, is artificial and illusory - which it is, but in The Last Horror Film, I can see and sense it. Weird!
I'd willingly recommend The Last Horror Film to lovers of the Darker Thrillers and Mysteries. It's entertaining, nostalgic, and well-made. It's not a rush out and grab a copy, but it is worthy of your time for one watch should you come across it on a streaming service or in the hands of a friend.
Please feel free to visit my Killer Thriller Chillers and The Game Is Afoot lists to see where I ranked The Last Horror Film.
Take Care & Stay Well.