“Faces of Death” follows a website content moderator who comes across a series of violent videos reproducing death scenes from a film. It’s a modern reimagining of the 1978 cult horror classic of the same name.
Meta Take on Modern Violence
This isn’t just any ordinary “remake.” It’s more of a meta reimagining, examining the commodification of violence and the spectacle of death in the social media era.
People see more graphic content than ever in modern times — all from the click of a button. “Faces of Death” takes advantage of this fact, propagating the themes it explores while also creating talking points about it. The film proves to be fascinating because of this.
The early stages of “Faces of Death” are slow-moving. Violence is present early on, but it’s not necessarily the focus. Instead, the characters are. It’s refreshing to see a horror movie that gives equal shine to both the protagonist and antagonist.
Performances That Elevate the Horror
Barbie Ferreira (Margot) and Dacre Montgomery (Arthur) both succeed here, bouncing off each other for a number of electric scenes. Ferreira gives off plenty of “crazed” energy, bringing fear and desperation to the screen. Montgomery, however, is actually “crazy.” His delivery sells the psychotic state of the character, with subtle inflections and facial cues adding extra creepiness.
Montgomery’s character not only proves to be a threatening villain, but a compelling one. While it’s ultimately a motive that’s been done before, “Faces of Death” adds new stakes to it.
Jermaine Fowler (Josh) also has a role in “Faces of Death,” alongside an appearance from Charli xcx (Gabby).
Even with a short 98-minute length, the film takes its time setting up the pieces. Many horror movies struggle with specific characters feeling like “pawns,” only there to be killed off later on. That is the case here, but it’s done so in a different way. Time is spent with side characters before their demise (or escape), allowing the audience to further invest in the narrative.
Carnage, Craft and Commentary
At the same time, it does hinder the overall pacing. As “Faces of Death” goes on brief side tangents, it does lose focus. The middle act, especially, is full of logic gaps and questionable decisions that may have viewers scratching their heads. If you can suspend some disbelief, though, it does recover.
The final act will almost certainly deliver for fans of carnage candy. While gore is sprinkled throughout, everything is taken up to level 10 near the end. Practical effects shine as blood is shed. The film isn’t one-dimensional either, implementing creative set pieces along the way.
With that being said, it’s never to “that” level. Because of the original, there’s been a lot of hype surrounding the violence within “Faces of Death.” It’s good, but it likely won’t have you grimacing or wincing.
Cinematographer Isaac Bauman frames these moments well. He finds interesting ways to place the camera so that the audience is right in the middle of the action. This, along with Taylor Levy’s editing, supplements the already impressive effects.
Gavin Brivik’s score is also noteworthy. “Faces of Death” oftentimes relies on silence to amplify crucial scenes. At the same time, however, the film knows when to inject noise. Brivik adds pulsating sounds that make the characters’ screams echo even louder.
While director Daniel Goldhaber injects commentary, he’s also aware of what the primary audience came to see. Genre fans will clap at the violence. But just know, there’s a little bit more beneath the surface.
The film is clever in this way. It’s self-referential, acknowledging the original’s presence to propel the plot forward. “Faces of Death” isn’t the first movie to do this, but this “reboot” does feel more earned than others.
“Faces of Death” is a character-focused, modern meta-slasher. The film delivers plenty of violence, while also having something to say about it.
Rating: 3.5 out of 5
