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Blu-Ray Review: ‘Dear Mr. Gacy’

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To give screenwriter Kellie Madison credit, she seemingly doesn’t make up or even slightly embellish any of the facts in Dear Mr. Gacy, which is based on the memoir “The Last Victim”, written by Jason Moss. If she did, Moss’ character might have snapped and killed someone, or Gacy would have gotten out of prison and killed some folks, or any of the usual things one does when trying to make a more exciting movie based on a true story. But is the movie still worth a watch? Read on to find out.
Dear Mr. Gacy is not a traditional serial killer biopic. Despite an early flashback to Gacy (William Forsythe, once again proving he deserves more than minor roles in Rob Zombie movies) killing someone, this isn’t a recap of the events that got him into prison in the first place. The film focuses more on Moss, who is writing a paper on Gacy and tricks him into thinking he’s a “fan” who wants to get into hustling, in order to trick him into opening up and maybe coming clean on some of his crimes.

See, unlike a Ramirez or Dahmer, who never backed down from the obvious, Gacy quite incredulously claimed he was innocent for most of his crimes, claiming he was framed for most of them. But um… he isn’t (the fact that he confessed initially and then tried the “I was framed” angle along with several others after it became clear he’d be convicted and executed didn’t help much), so while there’s merit to Moss’ attempt to get him to confess (again) in the days leading up to his execution, it sort of deflates the occasional attempts at sympathy for the guy. If there was even a shred of possibility he was indeed innocent of the crimes he was being executed for, I could maybe feel bad for him when he gets word that his date has been set, or when he discovers that Jason has been lying to him and using him. But, you know, no.

Luckily, this movie isn’t really trying to get you to consider whether or not Gacy was innocent after all. So it’s not exactly a thriller, and without the usual (often tasteless) depictions of Gacy’s crimes, so why are we covering it on Bloody Disgusting? Because damned if it’s not one of the most uncomfortable and creepy movies I’ve seen in a long time. No one holds back when Gacy and Jason talk about things Jason could do in order to have a more “satisfying” sex life, such as when Gacy tries to explain (in graphic detail) how Jason could rape his little brother. I was going “ew” every 5 minutes or so, at least until the point where Jason more or less quits the act.

And since I knew nothing about Moss (I honestly didn’t realize this was a true story until the end), I was pretty terrified at the climax, when Moss decides to visit Gacy in prison a couple of days before his execution. Needless to say, it’s not an entirely civil meeting. It’s an interesting workaround to a common problem in serial killer movies – we already know the highlights. Dear Mr. Gacy takes on a chapter of his life that’s rather unknown (it’s not even mentioned in his lengthy Wikipedia page, other than a passing comment about it being one of the movies to be made based on him).

The movie could definitely use some tightening; 102 minutes is pretty long for a film in which nothing happens, especially when they are sticking to the facts – we know Gacy won’t escape and come to the kid’s house or something, so after a while I just wanted them to get to the main event – Moss visiting Gacy. There are a few too many scenes of Moss arguing with his girlfriend too – at one point is this girl just going to walk away? Also, the actor playing Moss (actor Jesse Moss, no relation) isn’t terrible, but he didn’t really have the range needed to convey the difference between his character at the beginning of the movie to the one near the end, when Gacy has gotten “too deep” into his head and he’s contemplating killing hookers (he’s great as the crazed “hero” in Tucker and Dale vs Evil though).

Some more on the real Moss would have been welcome on the bonus features, but instead we just get a 22 minute piece about some of the folks Gacy knew, including a cop who busted him. Forsythe is often with the folks as they talk, though he doesn’t really offer much insight, so it’s not exactly a behind the scenes piece about him researching his role either. The tales are interesting (one of the subjects is a childhood friend of Gacy’s) but since the movie is about Moss, having the sole extra be devoted to Gacy is a little weird. Audio/video is average; this is not a title one “has” to see on Blu-ray.

If you liked movies like Dead Man Walking or Murder In The First, this one will be up your alley. If you want a traditional serial killer biopic, stick with the TV movie To Catch A Killer, starring Brian Dennehy as Gacy.

Film score: 7/10
AV: 7/10
Extras: 5/10
Overall: 6/10

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‘Cemetery Man’ 4K Ultra HD Review – 1990s Italian Horror Gem Shines in New Severin Release

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Despite being hailed by Martin Scorsese as one of the best Italian films of the 1990s, Cemetery Man is criminally underseen. Also known as Dellamorte Dellamore, the 1994 cult classic has been hard to come by in the US since Anchor Bay’s 2006 DVD went out of print, but Severin Films has revived it with a 4K Ultra HD + Blu-ray edition.

Dario Argento protégé Michele Soavi directs from a script by Gianni Romoli, based on the 1991 novel Dellamorte Dellamore by Tiziano Sclavi itself a precursor to Sclavi’s influential Italian horror comic Dylan Dog. Rupert Everett (My Best Friend’s Wedding), on whom the Dylan Dog character was visually based, takes on the lead role as Francesco Dellamorte.

As he explains in the noir-esque opening narration, Dellamorte is the watchman for a small town cemetery wherein “some people, on the seventh night after their death, come back to life.” He and his slow-witted but genial assistant, Gnaghi (François Hadji-Lazaro), are tasked with stopping the so-called returners by splitting open their heads.

While there is somewhat of an overarching narrative involving Dellamorte’s enamorment with a mourning widow (Anna Falchi), the manner in which subplots are introduced and resolved give the film an episodic structure. The collection of ghoulish misadventures range from undead boy scouts, bikers and nuns to a murderous descent into madness.

Soavi clearly took heed of Argento’s visual acumen while serving under the master of horror on the likes of Tenebrae, Phenomena, and Opera. Working with cinematographer Mauro Marchetti, production designer Massimo Antonello Geleng (Cannibal Holocaust, City of the Living Dead), and special effects artist Sergio Stivaletti (Phenomena, Demons), Soavi marries the beautiful and the macabre in every stylish frame.

Comedy is the other predominant factor in the equation. Dellamorte possesses Army of Darkness-era Ash swagger as he disposes of not-quite-zombies, but Soavi’s European sense of humor is more dry than Sam Raimi’s signature style. Soavi is not above splatstick, but it never undercuts the carefully crafted Gothic atmosphere. The blend of horror, comedy, and romance is as masterful as Shaun of the Dead, but it’s decidedly hornier. A hint of nightmarish surreality akin to Phantasm helps to balance the tonal tightrope act.

Cemetery Man has been scanned in 4K from the Cinecittà Studios negative, approved by Soavi, with Dolby Vision. It features English Dolby Atmos, 5.1, and Stereo sound options, in addition to a Stereo Italian dub. Severin’s transcendent efforts are apparent from the FBI warning that precedes the disc menu, which is interrupted by the film’s floating balls of light. The picture is ravishing no matter the format, but the restoration is so clear that previously imperceptible strings used to puppet some of the effects are now visible.

Soavi, Everett, and Falchi sit down for new interviews totaling nearly 80 minutes. They’re not meandering, career-spanning conversations; each key player offers a deep dive into the film. Soavi details the film’s origin, capturing its unique atmosphere, and how the poetic conclusion came to be at the last minute. Everett recalls his excitement to take on the role and work in Italian cinema and expresses his pride in the film. Falchi details her three roles in the film, including the extensive makeup process.

A thorough, archival audio commentary by Soavi and Romoli is presented in Italian with English subtitles. The creatives examine how they got involved in the project, adapting the source material, how they pulled off in-camera effects, and budgetary limitations, among other topics. An archival making-of featurette, featuring some great behind-the-scenes effects footage along with cast and crew interviews, rounds out the extras.

For the mega-fan, Severin Films offers a limited edition set that includes an additional Blu-ray disc with eight more interviews (Romoli, Marchetti, Stivaletti, actors Fabiana Formica and Stefano Masciarelli, composer Riccardo Biseo, set designer Antonello Geleng, and film historian Alan Jones) and trailers, a soundtrack CD, a booklet written by horror scholar Claire Donner, and an exclusive slipcase.

Despite his horror output being limited to a mere four films (although he remains active in Italian television), Soavi is worthy of being in conversation with Italian maestros like Argento, Lucio Fulci, and Mario Bava. His auspicious earlier efforts 1987’s StageFright, 1989’s The Church, and 1991’s The Sect built toward Cemetery Man, a crowning achievement that continues to endure after 30 years.

Cemetery Man is available on 4K UHD + Blu-ray now.

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