The Wax Mask (1997)

For all you Massimo Vanni fans - he's not in it much and basically plays a corpse. Also, I think a wax version of Massimo actually has more screen time than Massimo himself.Other folks - this is late era Italian horror film somehow based on something Lucio Fulci dreamed up. Filmed mostly around the Villa Borghese in Rome, it involves a wax museum that's due to open and a young woman who gets a job there. Thing is, peeps go missing and somehow exhibits end up at the museum who resemble them. Coincidence? You find out.I don't want to spoil too much of this plot wise, but as late era Italian horror films go, this one isn't too bad. This is from the real, proper, end of the era, because after this all you're getting is Bruno Mattei and Dario Argento films.There's a bit of gore, and quite a bit of topless female action if that's your thing (and it is, admit it). Also, this film actually has two bizarre but typically Italian twists at the end (one Terminator-influenced!). I found it for 50p at a car boot sale. Maybe you will too.But don't got to Jessie Street Car Boot Sale. That's MY territory.

I haven't watched a lot of Italian horror. This is not my first exposure to Argento, though it is to Fulci. I understand that they both wrote it, and the effects supervisor directed this(for a debut, this is rather good; editing and cinematography are strong). This has a Gothic style and tone to it. It particularly comes through in the nice use of lighting and shadows. The score is excellent, dramatic and not loud. This is creepy and eerie, with several gruesome and terrifying situations. The plot isn't bad. This doesn't utilize its full potential, and part of the ending is a bit of a letdown. On the whole, this doesn't quite have the impact that it should, and I think it has to do with the script. In short, unrealistic dialog and characters that just don't stand out that much('cept the boyfriend dude... he's a major jerk, couldn't stand him, especially for the latter half; maybe he resembles the ideal for that country, I don't know), and aren't all that developed. Acting performances are nice enough. The FX are marvelous, other than the lousy CGI that is right out of the decade before this was made. There is plenty of bloody, gory violence and disturbing content, as well as a little nudity and sexuality in this(the eye-candy is pretty gratuitous). The DVD comes with a 5 minute featurette(entirely promotional, and it contains spoilers), a theatrical trailer and a 1 minute make-up gallery, all in English(while there is also a dub to that on the disc, I did not try it, I prefer subtitles; they do appear to be great, though, from what I did hear). I recommend this to fans of the genre. 6/10

This is a sorely-overlooked film that began as a project for the ailing Lucio Fulci (who died at the 11th-hour), and ended-up being the first film for Italian makeup-maestro, Sergio Stivaletti. While it is often daft, it is also so audacious and original in its reimagining of "House of Wax" that it inexplicably overcomes any of its weaknesses. Produced-by Dario Argento (as well as co-scripted in some areas), this alchemical-horror succeeds where the recent Hollywood-remake fails, and all on a $3 million-budget! That's catering for the recent "House of Wax", right? Its only major-downside--a minor one--is that Paris Hilton's murder isn't depicted here, which accounts for half the box-office of that version.It is difficult not to be won-over by the visual purity of this film, even with the problems of plot (common to Italian cinema, though much of this is explained-by a an emphasis on the "thematic"), and it is very-very entertaining and fantastical. One would assume that the alchemical-themes in the story were Argento's contributions, however, English horror-cineaste Alan Jones has written they are Stivaletti's, which is pretty amazing. For those who are familiar with the makeup-artisan's work in films by Argento, Soavi, and Lamberto Bava, you are in for a treat.While this film is definitely flawed, it succeeds in being a great romp for action, mystery, and naturally, gore. From a hardcore heart-ripping by mechanical-hands, to melting-cadavers, it is an original-contribution to bodily-defilement by the director and his makeup crew. With obvious expositions on nanotechnology and cybernetics, I was pretty creeped-out. Maybe it was me, but I thought a lot of the film had elements of the French silent serials like "Judex", or even "Les Vampiers". There are--of course--scenes that will make most Anglo-American audiences cringe, and you'll know them when you see them, but you knew you were watching an Italian genre-film, no? Yet, it is so very classical in its combination of Gaston Leroux and Jules Verne! One-remaining Fulci-subplot remains--it concerns a doppleganger of a main-character, and is oddly resonant with Stivaletti's-contributions. The familiar-theme of the misunderstood-genius, and the brutality of the human-condition creating monsters reminds one of Captain Nemo, or the Phantom of the Opera. But what this films really reminds-me-of is that many great Italian-filmmakers understand there is no line-between "high" and "low" art. This is often lost on us in North America, but it is common in mainland European culture. The alchemical themes are great too. Lucio Fulci, RIP.

You can't help but go into Wax Mask with a little trepidation. First time director, written by an aged Luci Fulci and Dario Argento (who also produced), both of whom have had a less than impressive careers as of late. That said, Wax Mask is not a disappointment. It isn't a great film, but an entertaining one.The plot is liberally adapted from the classic Gaston Leroux story, also used for classic horror film House of Wax. A young girl sees her father killed by a metal handed maniac. Flash to 12? years later, she begins to work at a local wax museum that specializes in recreations of murders. We actually dont see much of the museum, just a few sculptures down one heavily draped hallway. A metal handed figure begins to go around town injecting and abducting prostitutes and children. All the while, the wax museum keeps a steady supply of figures that appear really lifelike. You know the story. A newspaper reporter begins to investigate the disappearances and takes a shine to the girl. Everything begins to point to the wax museum and its curator/mad inventor and his goons. The finale is ridiculous, but short enough to not ruin the film with its awkward turn.Stivaletti handles the film pretty evenly. You can tell he learned a lot about atmosphere in his years working for Argento, Bava, and Soavi, but Stivaletti doesn't showcase any revelatory talent, just competent skill. Italian horror films are always style first, general substance in the plot or performances is always secondary to the mood and movement. The film is paced well, and doesn't pretend that we all won't know who the killer is, after all this is well tread territory. The setting (early 1900's) and score are a welcome change, since Italian horror usually stays in modern times. Stivalletti makes use of heavy colours, POV, flashbacks, CGI, as well as old horror imagery like the gothic buildings, and a mad doctor laboratory with bubbling serums in tubes, and electrified levers. The lead actress is beautiful, sultry, wide eyed, and willing to take her top off. The hunky reporter is very lame and unappealing. He attempts to be suave, but he is just a dork. Miscasting him as the hero is the films real lowpoint. The curator is good, he doesn't overplay his part, not a drooling maniac, just threatening enough.Italian horror fans should find it a satisfactory film, nothing to astound you, but not overly disappointing, either. Other horror fans may be wary, but it does have a genuinely nice blend of old and new schools of horror. As far as Italian horror goes (where one must often not expect much in the acting and plotting department) it gets a B-. As far as standard horror it gets a C.