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Astute genre fans will want to keep an eye out for cameos from Tony Todd, Gunnar Hansen, and the August Underground: Mordum crew. You'll certainly know it when you see it – and if it doesn't upset you, then you're a scary individual. Kudos to Palumbo for having the audacity to not only film the sequence, but shoot it in such a shocking manner to boot. As I mentioned earlier, this is a mean little film – and one scene in particular (which I'll not spoil here) is going to have the mainstream up in arms. In all honesty, the gore is almost a foil to the film's real selling point – its unsettling tone. Gore FX, provided by Fred Vogel and Jerami Cruise of August Underground fame, aren't entirely over-the-top, but they're guaranteed to make most audiences uncomfortable.
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The film looks slick and professional and is something that a lot of aspiring genre directors should be watching before embarking on their first project.
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Palumbo's direction is a real treat – after spending what seems like an eternity watching low-budget shot-on-video gore flicks, it's refreshing to see a movie that's actually shot on film, lit by a real crew, and utilizes a cinematographer.
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The Photographer is one of the few cinema serial killers who's genuinely frightening. However, the actor keeps things from sliding out of control with his earnestness and withering glaze. In this regard, Garrett's character almost crosses over into farce – he's so evil that you can't take him seriously. YES NO And what a dark side it is – when he's not busy slaughtering attractive women, The Photographer likes to spend his time working out, reminiscing about his family's Nazi past, or looking for snuff flicks (an in-joke – the "snuff film" Garrett asks for in one scene is director Palumbo's earlier release, Nutbag). Unlike your standard serial killer film (wherein the cops are on the killer's trail), the only person who seems to be hip to The Photographer's dark side is Jade (newcomer Jade Risser), the pre-teen sister of the psycho killer's current girlfriend. The cameras follow a Las Vegas photographer (played convincingly by the brooding Sven Garrett) as he takes pictures of women, has sex with them, then tortures and kills them in his basement workshop.
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Palumbo's film is a great example of truth in advertising – M-S-P isn't so much a narrative as it is a series of interconnected set-pieces involving blood, sex, and gore. This is a movie shot on film – with a real crew and a budget.
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What's even more amazing about this is that Murder-Set-Pieces isn't some shot-on-video flick made by a guy with a few friends and a camcorder. Mary Harron's re-imagining of Ellis' novel was a bit of a letdown for gorehounds (the novel's violence was toned down dramatically to garner an R rating), but Palumbo's film never flinches from the grue and carnage that comes with the serial killer territory.
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It is, however, just as unrepentantly violent and morally bankrupt as Ellis' novel and it's hard not to imagine Patrick Bateman and Murder-Set-Pieces' The Photographer as kindred spirits slashing their way across the heartland. This is not to say that Murder-Set-Pieces is as deep and probing a work as Bret Easton Ellis' novel of serial murder in the "me, me, me" '80s – because it's not. Simply put, this is the film American Psycho should have been. It's not unlike Wes Craven's Last House on the Left – only without the stupid comedy bits. This is a mean little movie – it pulls no punches and genuinely wants to upset its audience in the process.
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This is why I will gladly champion any film like Murder-Set-Pieces – because Nick Palumbo understands what horror cinema's really supposed to be about. I'm not sure why this is – but I'm not a fan of the concept. For some reason, horror's become synonymous with "safe and predictable date movie". If I see another advertisement for a PG-13-rated horror film with some kid from a show on the WB, I may very well snap. Of course, this kind of hype isn't necessarily a bad thing – horror cinema needs more outrageous exploitation films if you ask me.
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Cannibal Ferox's claim of being "banned in 31 countries"). With taglines like "the most controversial film in history!" and "holds the distinction of being the only film in history rejected for processing by labs: Technicolor, DuArt and DeLuxe" you could be forgiven for imagining that this is hucksterism on par with the grindhouse classics of yesteryear (e.g. I have to admit – I was little bit skeptical of all the hyperbole surrounding Nick Palumbo's Murder-Set-Pieces when I first heard about it.