Faces of Death

Grade: B

There’s no universe where Faces of Death is meant to be taken seriously. I can picture critics who didn’t like it including an exhaustive litany of gripes in their review, while the joke – and it is all a big joke – flies over their heads. I, too, was composing a running list, until the realization emerged that this movie is being playful with us. It could be the literal definition of “campy.” It begins sincerely enough, but by the end, you have to surrender to it, and abandon your laundry list – legitimate as it may be.

It’s based on – and shares a title with – a film from 1978 that depicts a series of graphic deaths, to the point where viewers thought it was actual snuff. The director finally confessed, many years later, that it was fake. It wasn’t reviewed by many critics; even Roger Ebert sat that one out. It’s clever how 2026’s Faces of Death directly references the movie from 48 years ago (and even includes footage from it), but it isn’t a remake. It builds upon the 1978 movie to tell its own story.

Barbie Ferreira is a wonderful talent. She is fearless and always interesting to watch, whether she’s overacting or playing her moments for real. After appearing in Jordan Peele’s Nope, she held her own starring opposite John Leguizamo in Bob Trevino Likes It, which made my top ten list last year. She plays Margot, a professional website content moderator. Her job consists of watching numerous videos a day, making sure they’re ok to go out into the world – and flagging them if they aren’t.

She had a tragedy earlier in life, that we learn about in bits and pieces. When the video associated with it was later leaked by the police, it went viral, and made her into an unwitting internet celebrity, for which she still gets recognized. It’s the kind of video she comes across 100 times a day at work, and wouldn’t let through. A couple of videos come by, from the same username. They depict graphic killings, and seem to be inspired by 1978’s Faces of Death. Margot is invested, and takes herself down a rabbit hole of detective work to find out whether these are real – the NDA she signed be damned.

Joel Schumacher’s 8MM, with Nicolas Cage, covers similar territory – but I enjoyed that one, and it’s a pool that isn’t fished in very often. 8MM, released in 1999, came from a time that pre-dated technology we have now, and was before the advent of influencers always chasing that next like, view, comment, or follow. For that reason, it’s intriguing to explore the topic 27 years later.

The Faces of Death copycatter lives alone in a nice house in a subdivision, where none of the neighbors ever witness suspicious behavior, even when something noisy and bloody happens in broad daylight. He’s able to drive a 16 hour round trip at the last minute, and can instantly appease any authority figures that make a surprise appearance at his front door – convincing them that everything’s ok, Buffalo Bill/Silence of the Lambs style. He’s Arthur, and is played by Dacre Montgomery (Dead Man’s Wire, Elvis), in an efficacious performance. He is a Giovanni Ribisi type, with a deep, nasal delivery.

Arthur has impeccable skills, technical wherewithal, and equipment – but is not so good at preventing an attempted escape. When we enter his garage in a late scene, the cinematography is bathed in blood red for no reason. He is an over-the-top archetype who is free to carry out his movie villain stuff wherever and whenever. Much of the score comes from an electric keyboard, playing sinister minor melodies and chords. It brings a retro feel that adds to the experience. Once I accepted the madcap zaniness of it all, I laughed often. Ferreira as Margo says that if she can stop Arthur, maybe the awful event from her past wouldn’t be in vain. I’m not certain there’s a tangible connection there, but the speech sure sounded cool.

Does the last act, you may ask, end with relief? Does it end with someone processing the horrific images and events to which they’ve been subjected? What basket does the movie choose to put all its eggs into, for the final button? I’ll tell you. Somebody clicks “upload,” then we cut to the end credits. That’s what writers Daniel Goldhaber and Isa Mazzei have chosen to be the culmination. But before we arrive there, we get some bombastic Talking Killer dialogue followed by a few minutes of fight choreography. Somebody makes use of a small weapon they’ve had on their person, while the whole time, there was a much more effective one within reach that they could have grabbed and utilized. It’s a hoot. I can’t believe Faces of Death works as well as it does. I can’t believe I’m recommending it this much.

Grade: B