Anamorph - A Arte de Matar

Well, i did see the trailer for this film quite a while ago and i thought, wow this looks good. Only recently did i watch the film and I wish i didn't.

The story of the film is basically that a detective (dafoe) re-opens a series of murder cases by a well known killer he was investigating. The story is mainly focused on Dafoe with minor characters such as his prostitute friend (Duvall) and his detective partner (speedman).

I thought this film had loads of potential but it fell short because it lacked a few things. 1) the character development- although they established a few elements to Dafoes character, I thought they should have gone further to develop his character. Speedman and Duvalls characters have the typical stereotypes associated with any rookie detective and prostitute friend. I didn't feel that these characters had anything interesting to add to the film and were there really to just infill any film clichés the director wanted to add.

I must say that the idea is very original and the victim scenes were interesting to watch but I was not at all satisfied with the ending as it was more of an anticlimax more than anything and the killer said 3 lines in the whole film.

Anamorph is an interesting movie, at times very artistic and intellectual, while also being clichéd and slow. The plot is fairly typical of serial killer movies, reminiscent of any number of police procedurals, such as Silence of the Lambs. Most of its atmosphere seems to be lifted from classic 1990s neo-noir, like Seven. Also, like The Cell, there's copious amounts of grotesque imagery that occasionally achieve a kind of grisly, morbid beauty. The main concept -- that of serial killers being akin to artists, plying their trade on a human canvas -- is derivative of other movies, which, unfortunately, I can not currently recall. If you ground up all these elements, mixed them together, into one big serial killer movie pastiche, you'd have Anamorph.

Anamorph had some real potential, considering how seriously the director and actors approached it, but there were just too many problems. For one, it was mind-numbingly boring. By the end of the movie, I was nearly asleep. Watching this movie before you go to bed is definitely not recommended. The pacing is just way too slow. If you watch it, watch it while you're wide awake and alert.

Second, there are just way too many unanswered questions that were constantly nagging me. Why is the serial killer called "Uncle Eddie"? It's such an idiosyncratic name that it begs explanation. None is forthcoming. Why was that woman giving a blood transfusion? What was the nature of her relationship with the detective? After every scene, I was left with more and more unanswered questions, which the director seemed to think were too inconsequential to answer. I beg to differ.

Third, and this sort of ties in with the second point, things were constantly thrown into the movie because they seemed artistic, interesting, or enigmatic. While Anamorph has an explicitly stated premise ("truth is dependent on one's POV"), much of the movie seems like shallow, pretentious nonsense, instead of supporting the premise. I'm beginning to think that the killer is named "Uncle Eddie" simply because it's enigmatic and mysterious. That's a terrible reason.

It's always possible that much of the movie simply went over my head (I was half asleep while watching it), but I think it's more likely that this is just a mediocre movie. I think that the director shows promise, and I'd be interested in seeing his later films, but this one just didn't grab me. It's too slow, boring, and pretentious. Normally, I criticize directors for being too overt and not subtle enough, but this movie is so subtle that nothing ever happens and nothing is ever explained! Obviously, we need a bit of balance.

This movie is great up until the ending. The cinematography is great, the acting is top-notch and the plot and storyline keep you guessing and on edge till the end.

The end is a terrible let down for an otherwise superb production. Its like they ran out of ideas and money at the same time. Or maybe there is a producer to blame.

I would definitely recommend watching this movie even with the poor ending. I was reminded several times of the movie S7ven. Willem Dafoe's character is extremely meticulous as was Morgan Freedman's character. Other common elements: Both movies have young detectives partnering with soon to retire detectives. Both movies have a seemingly omnipotent serial killer always three steps ahead of the detectives, baiting them along and watching from the background. Both movies rely upon arcane literature and art to understand the villain's human "paintings."

I could continue to list common elements in both movies however I don't want to give anyone the impression that this is a knock-off of S7ven--its not. Rather its like reading a detective story written by the same author with different characters. If you liked S7ven I think you will like this movie. Just don't expect any great surprises.

The biggest difference between S7ven and this film is the ending. S7ven had an incredible, mind-boggling ending while Ananmorph ended like a candle blown out leaving the viewer in the dark and unsatisfied.

When it comes to cinema there's nothing I like more than stumbling across an independently made film with an intellectual story, an interesting cast and a fresh director. Anamorph is a psychological thriller that ticks all these boxes and combines them with a great premise, the only problem here is that the premise has been poorly executed. Directed by the up and coming Henry S Miller and starring William Defoe (an often underrated, but favoured actor of mine), Anamorph tells of a weathered Detective called Stan Aubrey, Defoe, who is assigned a homicide case that bears incredible similarities to a case he undertook five years previous. The film is based on, and gets its name from, the concept of Anamorphosis. For those that are unaware this is a technique of painting, employed during the Renaissance period, in which the artist manipulates the laws of perspective to create separate images on a single canvas.

The psychological thriller is one of the most difficult genres to pull off as in order to live up to itself the film will require an immense amount of concentration in both writing and direction to keep the viewer intact whilst simultaneously not boring them. Anamorph does itself no favours by utlising cliché storytelling techniques so often associated with this type of film. Examples are the ageing detective, a sombre piano score, stark lighting, mysterious strangers and the elaborate death scenes. Instead the film merely regurgitates past offerings, the obvious being Seven, Kiss The Girls, and the more recent Zodiac and combines them with yet another take on what makes a serial killer tick. Unfortunately the only thing that kept me compelled during this film was Defoe. His rendition of a troubled and obsessive detective ridden by guilt and heartache was very good, and would have been better if had not had been for the poor script. There are many problems that lie in the writing of this film, one of which is that the audience is deprived of any real character development and another is that it has poor dialogue (certain scenes had me cringing - they could have been penned by a child), the banter between some characters was clearly there to further the narrative which usually isn't a problem providing it is unnoticeable.

The direction and cinematography of the film were good, and the manner in which the flashback scenes of the previous case were arranged were both artful and creative as they alluded to dripping, the very process of either dripping blood or paint onto a canvas. The minimalism of Aubrey's apartment and the discussions on art that took place in the bar were very well directed and filmed. These scenes are probably the best of the film as they complement his character's bleakness with a muted aptness of style. The director's ability at portraying the concept of Anamorphosis was also good, although the fact he had to use a metallic coffee mug to further the plot and employ pretentious final visuals did taint a somewhat overall good effort. Furthermore, the elaborateness of the death scenes harks to the film Saw, but Anamorph is nothing in comparison - yes it is more intellectual and challenging but in this instance that doesn't make it a better film.

Finally, I feel that Anamorph should have been a much better film. Its basic idea, of a serial killer utilising a largely forgotten painting technique as his means of disposing his victims, is both fresh and original. However upon viewing it, the overall feeling is that the film was rushed and that it was hastened to release. There is no doubt that the film has been poorly written and, regrettably, when a film is poorly written it is much better to have a good and experienced director at the helm as only then will it at least stand a chance of being salvaged. Anamorph has failed to better itself from the indolent script it began with. Usually I feel that too many writers can ruin a film but here I feel that more were needed to treat the initial idea with the respect it deserved.

Willem Dafoe is an NYPD office teaching at the Academy. He's a troubled fellow. While he stands in line at the supermarket check-out counter, he lines his purchases up in precise configurations so that they form a square or some other regular shape. The camera looks straight down at the arrangement to make sure we get it.

It resonates with the rest of the story, although I wouldn't argue that the story makes a great deal of sense. Dafoe is called in to investigate a murder scene or, at any rate, a suspicious finding. The cops have occupied an apartment in which, if you shut off the lights, a tiny hole in the wall projects a bright image of a dead body in a queer pose. It's a camera obscura, used by some Renaissance painters to copy such objects as the doors of the Baptistry in Florence. (If I remember; I don't want to have to root around on Google looking up the details.) Similar murders follow, all observing the methods of a serial killer who took a slug in the middle of his forehead some years ago. "Anamorphosis" is brought in as an analytical tool by Peter Stormare as some kind of art fanatic who is Dafoe's acquaintance. Anamorphosis is forced perspective. Some artists painted an ordinary-looking picture, and inserted an odd-looking object somewhere in the display. If you look at the painting from the side, from a different angle, the object resolves into something recognizable. I think I saw one in a museum in Fort William, Scotland, of a distorted Bonny Prince Charlie -- again if I remember correctly. I don't want to have to root around in my long-term memory either.

But it's a dark and bleak story. Dafoe is not just an obsessive but a loner. His partner tells him, "We've been on the same desk for five years and I don't know anything about you. I don't know if you're married or where you live, and we carry the same shield." Dafoe doesn't speak much. He rarely asks questions. He shows little emotion. He wanders through the film's dark rooms, flashlight at his shoulder, observing chopped-up bodies.

The musical score is okay, but the photography is desaturated and in high contrast. It gets even more stylish during the flashbacks that show us why Dafoe is tortured by a guilt he refuses to confront.

Almost all of these movies about serial killers leaving convoluted puzzles behind for the police to figure out are pretty silly. They've managed to drag in the Seven Deadly Sins, Alice in Wonderland, pentagrams, and copycats killings of other famous serial murderers. It can be done successfully, even if it remains silly, as in "Seven". But, man, this one drags. And all those chopped-up bodies. A diapason of anatomy. There are no violent murders, no, but who wants to witness an autopsy without getting paid to do it?