Another look at Joel Schumacher’s devastating neo-noir horror film
It’s as good a time as any to scribble about a motion picture that I cite as one of the most underrated horror films of the past quarter century and certainly, the most undervalued in the Nicolas Cage cannon. It’s a movie that positions itself as a noir-steeped murder mystery but goes so deeply into phantasmagoria that it becomes, almost imperceptibly, a full blown horror film. And while there isn’t anything explicitly supernatural in the film, there is a leather-clad Frankenstein monster-esque porn stud-gimp named “Machine” who acts as the angel of sexual death for an egomaniacal snuff film pimp named Dino Velvet who is so over the edge with his grim villainy that he makes Dracula look like a milquetoast by comparison.
Indeed, the movie I’m about to rave about is the Andrew Kevin Walker (SEVEN) scripted psychodrama 8MM, released in 1999 and directed by the Hollywood the late gun-for-hire Joel Schumacher, he of slick and empty entertainments like THE LOST BOYS, FLATLINERS, PHANTOM OF THE OPERA, the risable BATMAN FOREVER and the even more dire BATMAN AND ROBIN. Outside of the latter two pictures, however, I actually rather liked Schumacher’s solid journeyman work. He was a sleazier Tony Scott in some ways, making glossy, easily packaged product that nonetheless had covert personal kinks splashing around on the peripheral and very often, a palpable passion for movie-making at their cores. I believe 8MM to be his masterpiece and certainly, it’s further evidence that Cage is one of the great dramatic screen presences when used properly and when dialing down his patented eccentricities (though I am indeed a huge devotee of said eccentricities).Continue reading “On 8MM”