Wax Mask

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.

If you ever wondered what House of Wax would look like reimagined as an Italian giallo, you're in luck, because The Wax Mask is exactly that. Sure, there are a few liberties taken here and there, but it's still eerily similar.

A young woman sees her family murdered and, years later, she begins working for a wax museum where there's a set piece that looks an uncanny amount like the crime scene from her childhood. She begins to piece together that the wax exhibits are more than simple sculptures and might have real people underneath them.

As in most Italian films, the dialogue doesn't always translate well to English and there are some sacrifices of logic for cool set pieces, but it's typically an enjoyable ride.

Director Sergio Stivaletti gets to have a great time with The Wax Mask. This film has some great camera work and a few great set pieces. It's never quite to the level of Argento, Bava, or Fulci, but it's far from workmanlike. The gore effects are strong and nasty, but the film does seem to go on and on at times and could benefit from a few minutes being shaved off.

Sergio Stivaletti's wax mask is a hard movie to review because it has so many good things about it and so many BAD things also. The good things are...The movie is very visual which is cool, the make-up effects are awesome along with the computer effects, and it has some cool production design(especially the room where people are turned into wax creations). Now whats bad is...Most of the acting is bad especially the main female and good guy characters, the end turns into a weird terminatoresque finale, and some characters are not explained well (what happened to the bald guy with the scar) and the last minute/minute and a half is one of the worst endings i've ever seen.....what can i say i like this movie and yet i dislike it too.....still though it could have been better. But view it for the special effects(makeup and cg) and production design.

Sergi Stivaletti has primarily been active as a special effects guy for such brilliant directors as Dario Argento and Michele Soavi. Among many other projects he did the amazing special effects for masterpieces like Argento's "Opera" and Soavi's "Dellamorte Dellamore". As a director, Stivaletti aims at reviving the most elegant of Horror sub-genres, the wonderful genre of Gothic Horror cinema (the greatest specimen of which came from Italy in the 1960s). His two directed films "M. D. C. - Maschera Di Cera" (1997) and "I Tre Volti Del Terrore" (2004) are both Gothic tales. I haven't seen "I Tre Volti Del Terrore" so far (but sure will). With "Maschera Di Cera" being the only Stivaletti-directed film I've seen so far, I can say that his attempt to revive Gothic Horror greatness has been a full success. "M. D. C." has very excellent exit criteria to begin with - the film was scripted by Italian Horror deity Lucio Fulci, adapted from story written by Italian Horror deity Dario Argento. Fulci and Argento guarantee greatness, and director Stivaletti truly made the greatest out of it. "M. D. C." is an incredibly creepy and atmospheric, thoroughly suspenseful, gory, beautiful and imaginative wholesome of elegant Gothic terror. While the film adapts the atmospheric greatness of 60s Gothic Horror films, it is also imaginative and inventive, and Stivaletti's talent for effects fits fantastically in the gloomy Gothic ambiance. The film was released only shorty after Lucio Fulci's death in 1996, and is therefore dedicated to the master.

Paris, December 31st 1900: A little girl hiding under her bed witnesses her parents being brutally torn to pieces by a masked, metal-clawed killer. Rome, twelve years later: A man apparently dies of fright when sneaking into a Wax museum by nighttime for a bet. On the day he is found, a beautiful young woman begins to work at the museum, in which artistic genius Boris Volkoff (Robert Hossein) displays gruesome scenes with wax figures. The young beauty is Sonia (Romina Mondello), the girl who had witnessed her parents' murder twelve years earlier. It isn't long before people begin to disappear from the streets of Rome...

Storywise, "Maschera Di Cera" is sort of a Gory Italian 90s version of the Vincent Price classic "House of Wax"; that is not to say, however, that the film has no own ideas. As mentioned above, the film continues the Gothic tradition in a wonderful and imaginative manner. The themes combine a gruesome murder series with mad science (a combination that has often worked wonderfully in the past). The film's the early 20th-century settings, especially the creepy Wax museum create a wonderfully gloomy atmosphere; demented characters, an iron-clawed killer, weird machinery and loads of very well-made gore ensure a wonderful time for any lover of the macabre. The yummy leading actress Romina Mondello must be one of the most gorgeous women who ever blessed the screen with their presence, and her lovable and vulnerable leading character Sonia is easy to be scared for. All cast members deliver good performances, Robert Hossein, Gianni Franco, the creepy-looking Umberto Balli and the ravishing Valery Valmond, who plays a prostitute, are particularly worth mentioning. Besides immense creepiness and suspense, sublime visual elegance, terrific effects and bloody gore, "M. D. C." also offers tasteful female nudity on several occasions, which, of course, is more than welcome. The remotely Giallo-esquire mystery about the killer's identity isn't really a one, but that doesn't really matter since it doesn't even slightly lessen the suspense. The score is fantastic and even intensifies the gloomy atmosphere.

"M. D. C." is a film that proves that great Gothic Horror films can still be made (I'm aware that 13 years have passed since, but the majority of Great Gothic Horror was made in the 60s, 70s and earlier). Sergio Stivaletti must be saluted for creating such a wonderfully gloomy film that must not be missed by my fellow fans of Italian Horror.

If you are familiar with italian horror, you get exactly what you expect here. Adequate to terrible performances, atrocious dubbing, gaudy visuals at the expens of characters you actually care about and imaginatively staged murders. However, this film was better than i expected, since director Stivaletti is primarily a make-up man and tried his hand at directing here for the first time. The (I suspect limited) budget is used well with varied locales for the different scenes, nice art-direction and costumes and crisp camerawork. Pace is well maintained throughout the movie which distracts you from some of the less obvious plot-holes. The waxmaster himself does quite a good actingjob, not hamming it up. As for "the good guys", the leading lady is adequate but at bit dull. Our supposed "hero" is however damagingly miscast and comes over as a complete bore. As is usually the case with italian horror, the visuals are at the fore here with rich colours (which of course includes crimsonred blood), lovingly filmed and accompanied by a good and appropriately romantic score. The finale, as a few others have stated, is quite bad but fun in a way with some terminatoresque touches that are unexpected, to say the least. And the murders, surprisingly few, are competently put together with a sufficient amount of gore to satisfy fans. Overall, entertaining and good fun, if you dont expect "Citizen Cane".