8 mm

Some sensitive-minded people may surely be disturbed by the dark revenge and self-justice in this film, but "Se7en"-author Andrew Kevin Walker has done another fine work with his script! Although the storyline is obviously taken from Paul Schrader´s "Hardcore" (1974,?) the film is suspense-packed, violent and endowed with good performances of its actors, especially Peter Stormare did a brilliant job with playing the weird bondage-porn director Dino Velvet! I also was truly surprised how good director Joel Schumacher had created a morbid atmosphere, just in unhappy memory of his disastrous "Batman & Robin"-flick..! Another pleasant fact is, that "8MM" doesn´t deal with the Hollywood-typical stereotypes and clichés, so finally we´ve got something we could really call a dirty mainstream production - or at least a nice try of it!

I'll never forget first seeing this film in the theater. When I heard that this film was written by the same writer as "Seven", I expected a truly sick and twisted film. Now don't get me wrong, this most certainly is a sick and twisted film, but it wasn't nearly as graphic as I expected. Maybe that is due to this film having a different director, but nonetheless the film wasn't as graphic as I'd expected. With that said, and having watched this film a number of times, I still wouldn't recommend this film to everyone. If you like thrillers and can handle the subject of pornography and "snuff" films, then you should definitely give this film a chance.

I'm a little surprised that this film has such a low rating on IMDB. I can see why someone wouldn't like it, but I can't see why it would have such a low rating. I would assume that most viewers couldn't handle the subject and therefore gave the film a low rating.

All of the actors involved in this film did a very good job. Nicholas Cage was great as always (sometimes a little over-acting, but most of the time he was great). James Gandolfini, Joaquin Phoenix, Peter Storemare, Anthony Heald, Catherine Keener, and the rest of the supporting cast all pulled off solid performances.

Joel Schumacher really needs to stick with films like this. He really does a great job with thriller/drama type films (and needs to steer clear of certain super-hero films). Joel did a great job with this film and I look forward to his next work.

The only complaint I have about the film is the music. There were some times were the music was perfect or tolerable, but there were others where it was just horrible and detracted from the film. Some of the music in the film was too bizarre and didn't fit with the film.

Like I said, I wouldn't recommend this to everyone, but I thought this was an excellent film. I hope you enjoy the film. Thanks for reading,

-Chris

I walked into the movie theater last Friday not expecting at all what I was about to see. I'd heard about it, thought "Oh, another Seven". Same screenwriter, but I was way off track. I can stomach a lot, having no problem stuffing down popcorn during very graphic scenes. In 8MM, my coke had trouble going down. 8MM did not have consistent gory/violent scenes, but the way the movie was made made you fill in the blanks of what the makers of the movie could not screen. And if you pay attention and immerse yourself, you fill in more blanks than you really think you could, or want. As Max put it: "the devil changes you." The perversity and deep rottenness of the human minds displayed in 8MM is what disturbs you. Then you realize, that "snuff"-movies are real, that there are individuals twisted enough to endorse/enjoy/take part in it. And worst of all, that these individuals don't look like monsters, they're perhaps just overweight nearsighted men who look like your dad, your son, your brother, even yourself. And if you don't look out,(no matter how secluded you think you are in your suburban home, with a wife, a daughter, and a dog named Shep) you dive into the pit of perversion and rottenness as well, finding no way out. In conclusion: excellent music, acting very sufficient, the plot: a must see. Just don't bring popcorn, and prepare to walk out of the movie theatre disturbed, asking questions, and a little bit more suspicious of those walking around you, and yourself.

There is a lot to be said about skill. Joel Schumacher is responsible for Batman & Robin, one of the most horrendously made movies in the past 15 years. One could have said upon leaving the theater in 1997 that Joel Schumacher is one of the worst directors working today. Two years later, Schumacher creates something, albeit with commercial sensibilities, that succeeds on many levels. 8mm is a murky, scuzzy passage through the miserable, dystopian criminal world of snuff films, taken on by a private investigator who is dismayed and scarred by what he unearths. It probes the resources of violent exploitation films, but not as a violent exploitation film. It would more accurately turn your stomach than amuse. Andrew Kevin Walker, who wrote Seven, and again establishes a protagonist who confronts evil and nearly loses his sanity in an effort to understand its reasons. The answer comes almost at the end of the film, from its most vicious character, but his rationale wittingly refrains from going as deep as the psychological world of his deeds. Joel Schumacher has an attraction to sinister, perhaps Gothic environments, even if his previous films that follow that pattern aren't so great, like The Lost Boys. Here, with Mychael Danna's sorrowful score and the great Robert Elswit's guilty, peeping camera, he fashions an impression of apprehension even in the few scenes where the story takes solace in Cage's home life. One director would not be wrong to shock us with a comparison to the unsuspecting atmosphere of Cage's residential street or the opening airport shot, but Schumacher perceives the looming subterranean goings-on beneath the unsuspecting.

The intent of the story is to consider a rather everyday individual and provoke him into such a troubling conflict with pure evil that he himself is pushed to torture and murder. He lives an unexciting but mostly happy life with his wife Catherine Keener and their infant daughter. He went to a good school on an academic scholarship, however while his contemporaries went through the most conventional motions to become lawyers, doctors, bankers, he chose a line of work comprised of following, shadowing, investigating, staking out, watching. For the sake of a comfortable living, he accommodates an upper crust circle of socialites and politicians. Nevertheless, this case which he almost does not take is unique. He is sent for by the attorney of a rich widow whose husband has just died. Whilst rummaging through the inside of her husband's safe, she and the lawyer find an 8 mm film of what seems to be the vicious slaying of a teenage girl by a large masked man. Cage convinces himself that the film, while horrifying, is simulation, but the widow wants him to confirm this for sure.

8mm doesn't consider the story's dilemmas merely as opportunity for money-making set pieces like action scenes. When Cage has the chance to take revenge, he doesn't have the command of his motivation because he does not have the same capacity for murder that his prospective victims have, and he essentially calls a character wounded by this person and provokes her to talk him into it. That is a novel approach the protagonist's vengeful turning point, and it elicits subliminal moral uncertainty that the audience has to take in hand.

8mm is a conventional studio thriller, but it is a real movie. It is all content and the suitable approach to that content. It is about human's aptitude for malevolence, conjecturing just deep it can go and how little we care to know of it in ourselves.

When it came out, "8mm" became notorious for its dark and perverted subject matter. Any and all warnings that are given in association with this film are warranted: this is a dark, dark, thriller, and one that revels in a lot of sordid subject matter. How this was never threatened with an NC-17 is beyond me.

Tom Welles (Nicholas Cage) is a well-respected private detective. One day, he gets a call from a recently widowed, and exceedingly wealthy woman named Mrs. Christian (Myra Carter). It seems that when Mrs. Christian was going through her husbands things, she came across a film reel that appears to be a "snuff film" (a "snuff film is where someone is actually murdered on screen, not merely acting like it). Tom is hired to find out if the film is actually real.

Andrew Kevin Walker wrote the suspense hit "Seven," and the two films bear a number of similarities. Both deal with grisly and bizarre subject matter, and take no prisoners when they show it all. But "Seven" had something that "8mm" doesn't: a sense of atmosphere. Try as he might, director Joel Schumaker can't establish an ominous atmosphere, which mutes the film's impact.

The acting varies. Nicholas Cage is effective as Tom Welles, though that's to be expected because this is a role that Cage could play in his sleep. Joaquin Phoenix shines as Max California, the porn star clerk who becomes Tom's sidekick. The rest of the cast is not so great. James Gandolfini is okay as Eddie Poole, but Peter Stormare (Dino Velvet, a mysterious hard-core porn producer), Anthony Heald as Mrs. Christian's lawyer, Daniel Longdale, (looking strikingly similar to Geraldo Rivera) and Catherine Keener (Tom's neurotic wife)are awful.

"8mm" works, but it's not masterpiece. The story is easy to follow, as long as you don't stop to think about how the film gets from one scene to the next. But the final 20 minutes are bad; they're not credible, and everyone acts like they've lost their brains.

"Seven" contained an ingenious twist ending, and while "8mm" doesn't offer that, it takes a few unexpected turns, and the story is not formulaic.

This is a good film, but not a great one. Recommended, if you can get it for cheap.