Die Watching

According to the DVD description, "It's the final curtain call for several young models as they audition for the roles of their lives. When Hollywood video director Michael Terrence (Christopher Atkins) films some of Hollywood's promising actresses, they find themselves caught in his own private fantasy of murder and desire. As he struggles between love for his latest discovery (Vali Ashton) and his dark desire for her sexy friend Gabrielle, the body count rises…"

Let's stop beating around the bush… This film isn't going to "keep you on the edge of your seat" as much as it's going to get a rise out of your jeans. To put it bluntly, the BOOBS are BEAUTIFUL. And, BIG. The highlight comes early; in the opening sequence, with marvelous Melanie Good (as Sheila Walsh) doing a strip tease, exposing an exquisite set, and being duck-taped to death by Mr. Atkins. Nothing really equals this, but there are more breasts to behold.

"Die Watching" is so named because Mr. Atkins' serial killer films his victims as he ends their lives - this way, they can see themselves dying. And, you should know, the murders (of the women, at least) are not bloody. So, you can enjoy director Charles Davis' erotic presentation of females squirming around in bondage without the messy end evident in most other thrillers. On a more artistic level, watch how Davis links Atkins' eyes with his victims' nipples.

If you're looking for Atkins in sexualized role, this really isn't your best shot. Davis is focused mainly on the women; and, although Atkins (of "The Blue Lagoon") is obviously an attractive man, he is not given the sexy treatment he usually gets. Instead, you can see him act. Atkins carries the film through unbelievable plot developments, and convincingly gives his character the likable creepiness called for in the script. Yes, Christopher can play a psycho killer.

****** Die Watching (1993) Charles Davis ~ Christopher Atkins, Vali Ashton, Mike Jacobs Jr., Melanie Good

This thriller by director Charles Davis is notable more for what it doesn't show, rather than for what it does. There is often a cinematic sadism in the demonstration of the work of a serial killer, which blurs the line between drama and exploitation, in a similar argument for cinematic sexual activity being integral or gratuitous. One could accuse Davis of sexual exploitation of the women victims of the serial killer here, since he films them performing a striptease and it appears to be the sight of their exposed breasts that sets off his homicide, but the actual killings are not graphic. This may ironically frustrate those who yearn to see thrillers with violent acts, but it says something positive, in my view at least, about Davis his skill as a filmmaker. The plot uses the idea of Peeping Tom where the killer wants his victims to see their own deaths, though his method involves asphyxiation and strangling where the person no longer has a clear view of the video monitor. Hence the killer maintains his own library of snuff for a private gratification, much like the way James Spada used the video confessions he obtained from women in Sex Lies and Videotape. As the serial killer it's hard to know at first how to read Christopher Atkins. Is he presenting an accurate portrayal of psychological trauma, since he is haunted and presumably motivated by dreams of his mother, or is Atkin's little boy shyness simply the demonstration of an actor's incompetence? The relevation of the childhood tragedy is delivered in a memory flashback as told to his next door neighbour who brings potential romance into the equation, and even though the mind is a complex organ, there isn't much psychological logic to the events that would create an interest in this activity as a future profession. The screenplay gives Atkins such a small social circle that it would seem that the police should be able to find him in the same day, but their blundering progress is underlined by the 2 detectives delivering perfunctuary dialogue. There is a long delayed pay off over mixed tapes and a character suddenly and explicably expressing a sense of humour. But one of the victims inadvertently scores a laugh - when Atkins leaves the camera for his Jekyll to Hyde transformation, she says "The least you could do is yell cut". Davis does well by Sally Champlin as the neighbour's agent, and Michael E Bauer as Atkin's video salesman, who sounds like he studied under Dennis Franz. However Davis undermines Vali Ashton as the neighbour, with a soapy boorish boyfriend, and an unflatteringly angled vertical sex scene, which emphasises the age difference between the two parties. In spite of making a film about a killer of women, it's actually hard to pin the mysogyny label on Davis, because of how beautiful he makes the victims look, that is when they are still alive.

Die Watching is what happens when you give someone a copy of Peeping Tom, a few strippers, some out of work actors, a microbudget and a weekend to make a movie. The tone of the film and even the genre seems to bounce around a lot, but there's enough there to make it worth a watch. A better lead performance and it could have had a cult following.

What you'd expect if watching the trailer, or judging the cover. Voyeuristic nutter, and we find out a bit, how he ended up like this, through flashbacks, and flashes. Speaking of flashers, a few hotties, on the pretext, of becoming the next big thing, model wise, are lured by advertisement, to the strangling quarters of Atkin's warehouse/photography strudio. As getting them to strip and dance erotically, he then puts em' out, and ties and gags them, then, yes, you guessed it.... lets them watch themselves die. Interesting idea, and some nice blood splattering, some heart, and a not half bad Atkins, makes it a nice entertainer. Oh yeah, get this, after taping the victims, they make their way to an underground minority clientele of a video store, run by a perveted pig of a clerk, void of a conscious. Thomerson as a detective working the serial killer, is so type cast, I'm sure, he'd rather be somewhere else, as so is his partner. Can't shake off being a low brow film, due to it's content, simple story, and repellent themes. Just adds up to a below average drama/thriller, heralded by a sometimes farcical, overacting Atkins.