Father Gore's 2nd Make a Case looks at the squandered potential in Wes Craven's 1989 SHOCKER.
The Girl in the Photographs. 2015. Directed by Nick Simon. Screenplay by Robert Morast, Osgood Perkins, & Simon.
Starring Christy Carlson Romano, Katharine Isabelle, Claudia Lee, Kal Penn, Mitch Pileggi, Kenny Wormald, Eva Bourne, Toby Hemingway, Miranda Rae Mayo, Toby Levins, Autumn Kendrick, Luke Baines, Kathryn Kirkpatrick, Oliver Seitz, & Corey Schmitt. Alghanim Entertainment.
Not Rated. 95 minutes.
This movie is being touted as something special, simply because it was the last film Wes Craven produced before his passing. But outside of that there isn’t a whole lot to talk about. Even though The Girl in the Photographs has a dark, sleek look with some nice cinematography from the legendary Dean Cundey, along with exceptional music from Nima Fakhrara, ultimately there isn’t anything except style here. The writing is very dull, from a story by director Nick Simon, written by Osgood Perkins (son of Anthony) and first time writer Robert Morast. I enjoy the premise, however, outside of that the screenplay’s really a boring rehash of typical genre fare, which eventually leads us to a disappointing finish.
All the grim beauty in the world can’t save this one. Too bad, as it would’ve been nice to have a final film produced by Craven worth talking about. Instead, his name is attached to this less than mediocre attempt at making something different within the slasher sub-genre of horror. The ending is a nice touch. Just too little too late.
When Colleen (Claudia Lee) starts to receive pictures of savage murder scenes, young women brutally killed. Are they real? Are they elaborately staged scenes?
Either way hipster photographer Peter Hemmings (Kal Penn) is interested. He wants to start staging photographs, much like this fellow artist or possible serial killer. Except by doing so he might just have put himself, and everyone around them, right in the way of the one taking those pictures.
And there’s nothing stopping the murders from slowing down.
So immediately, the fact Dean Cundey is the cinematographer on this movie really attracted me. Because you’ve got a guy who’s done everything from classics such as John Carpenter’s Halloween, The Fog, Escape From New York, The Thing, and then there’s his work on lesser, underrated pictures like The Witch Who Came From the Sea, Without Warning, Halloween II & Halloween III: Season of the Witch, Psycho II, Who Framed Roger Rabbit, plus a ton of others like Jurassic Park and Apollo 13, and more. So naturally, if you know his work, you’ll know Cundey has a lot of talent. His eye for horror particularly is incredible. There are some beautiful bits of Steadicam in here, tracking shots that make scenes stand out from the rest of the film. One of the biggest reasons I liked anything about The Girl in the Photographs is due to Cundey and the look he brings to the picture. Everything is beautifully captured, yet even the enormous talent of a cinematographer such as Cundey cannot fully carry a movie into worthy territory.
In addition to the film’s look, its overall atmosphere is definitely aided by an eerie score from Nima Fakhrara. There were scenes where it actually surprised me, catching me completely off guard, and it weighs down the scene with a real ominous, foreboding air. There was a typical feeling at times that takes you back to the usual style of horror score, but still Fakhrara subverts the horror movie score and gives us an enjoyable bunch of music to go along with Cundey’s slick look.
Kal Penn is great as Kumar, fairly shit in all other regards, though. He tries, but there’s something about his acting that falls flat. Especially here. The writing isn’t that great to begin with, and then there’s his dialogue. Which, coming from someone else, maybe could’ve been a little better. Penn is meant to be a pretentious-type, a douchebag. Although what comes out is just a dreary and forced performance from him that reeks of trying too hard, giving too little. Outside of him there wasn’t much else in the way of acting that’s bad. Not much good, either.
The screenplay kills everything simply because even the visuals aren’t enough to float the boat. Cundey is awesome, he’s not that awesome. Without anything new or innovative, the visuals are merely nice to look at. So on top of that there’s nothing interesting in the screenplay to lift things any further. What begins as an interesting premise, and ends in a fairly intriguing manner, falls apart in the middle like something only cooked around the edges and not inside. There’s nothing exciting at all about the dialogue, the characters are all flat, one-dimensional people we’re only waiting to watch die. So in many respects it’s the completely typical slasher horror, except it’s nowhere near as good as any of the classics, nor is it anywhere near the other horror movies Cundey’s touched in his career.
I can give this a 2-star rating with a clean conscience. There are a couple eerie scenes, and the masks worn were unsettling. So it’s enough to watch this once, just to say you’ve honoured Craven’s dear memory. After that you’ll likely never put this on again, unless you’re masochistic and want to endure it another time over. It’s not worth it, though. Again, I do dig the ending, and the photograph in the finale is almost otherworldly, it’s scary. But a decent premise and a fun ending does not a solid horror movie make.