In promoting their film, the creators of the new Faces of Death make numerous assertions about its exploration of issues like our increasing desensitization to violence, the ethics of viewing violent imagery, and our seemingly insatiable hunger for real-life brutality. They claim to aim to “hold a mirror up to the toxic media ecosystem we inhabit.”
While that sounds impressive and reflective, they reveal their true intent when they characterize the movie as “an exploitation of an iconic exploitation film.”
Faces of Death
The Bottom Line
Not nearly as thoughtful as it thinks it is.
Release date: Friday, April 10
Cast: Barbie Ferreira, Dacre Montgomery, Josie Totah, Aaron Holliday, Jermaine Fowler, Charlie XCX, Kurt Yue, Ash Maeda, Sam Malone, Tiffany Colin, Tadasy Young, Jared Bankens
Director: Daniel Goldhaber
Screenwriters: Daniel Goldhaber, Isa Mazzei
Rated R, 1 hour 38 minutes
For those who may not recall or are too young to know, the original Faces of Death, released in 1978, is a classic example of the “mondo horror” genre, originating from the influential 1962 film Mondo Cane. This faux documentary showcased “pathologist Frances B. Gross” as she presented graphic footage of various grisly deaths, with a mix of real and convincingly staged content.
The low-budget production became highly profitable, gaining cult status through its VHS release and generating multiple direct-to-video sequels, creating a thriving niche market for such morbid content.
This reboot, or rather “exploration,” directed by Daniel Goldhaber and co-written with Isa Mazzei, centers on Margo (Barbie Ferreira), a content moderator for a video-sharing platform named Kino. Margo, with her own troubled past linked to internet fame, spends her workdays reviewing often disturbing uploads, tasked with making quick judgments on whether to allow them to remain on the site.
Margo’s boss (Jermaine Fowler) shows less concern about the graphic content than she does, encouraging her to “give the people what they want.” Her suspicions rise when she notices videos that resemble those from the original Faces of Death, prompting her to investigate further and compare them with clips from the original film, leading her to discover that a serial killer named Arthur (Dacre Montgomery) is behind the videos.
As Arthur reveals his villainous character in a series of ultra-violent scenes and expresses joy in his work, he ominously notes, “It’s the attention economy,” suggesting that his gruesome portrayal reflects broader cinematic themes. Ultimately, despite its historical context, this rendition feels more like a standard horror film, albeit with engaging performances that don’t quite justify its wide release by IFC Films.
