A Rome policewoman teams up with a British Interpol agent to find a crafty serial killer whom plays a taunting game of cat-and-mouse with the police by abducting and killing young women and showing it over an Internet web cam.
Paris, 1900: a couple are horribly murdered by a masked man with a metal claw who rips their hearts out. The sole survivor and witness to the massacre is a young girl. Twelve years later in... See full summary »
Riccardo Serventi Longhi
A spree of grisly murders is perpetrated in Frankfurt by a group of Satan worshippers. A school teacher almost runs over an old man with a box and takes him in. It's no accident that the ... See full summary »
A young man tries to help a teenage European girl whom escaped from a clinic hospital after witnessing the murder of her parents by a serial killer and they try to find the killer before the killer finds them.
A college film student, obsessed with the works of Alfred Hitchcock, investigates a murder committed in the apartment building across from his and suspects that his seductive neighbor hired a girlfriend to commit the deed.
An old Gothic cathedral, built over a mass grave, develops strange powers which trap a number of people inside with ghosts from a 12th Century massacre seeking to resurrect an ancient demon from the bowels of the Earth.
Feodor Chaliapin Jr.
In Rome, after the abduction of a British tourist, the police inspector Anna Mari is contacted by the criminal, who self-entitles The Card Player, challenging the police department to dispute a video poker with him where the prize would be the life of the victim. The Chief of Police refuses to participate and the victim is tortured and killed in front of an Internet web cam. The British detective John Brennan is assigned to investigate the case and when another woman is kidnapped, they invite the addicted player Remo to play for the police. Anna and John lead the investigation trying to disclose who might be the serial-killer. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
The role of the cop was intended for Mathieu Kassovitz but he withdrew when he was offered the chance to direct Gothika (2003). It was eventually given to Liam Cunningham and the name changed from John Russo to John Brennan. See more »
I have the good fortune to be working in Italy now and, as Dario Argento is my favorite filmmaker, I saw 'Il Cartaio' as soon as it came out here. Like 'Nonhosonno' it's a tense, unnerving urban thriller with a number of flaws but enough sublime moments to make it stand out above pretty much everything else playing at the moment. Gorehounds will be disappointed though, as 'Cartaio' eschews the over-the-top bloodshed of almost every previous Argento film. But most giallo buffs should find plenty of nerve-wracking thrills and intriguing plot twists to hold their attention.There are also sympathetic characters and great location-shooting in Rome.
I enjoyed Simonetti's electronic score, although I felt it was slightly overused in the second half of the film. It sets the scene nicely during the opening credits and is used to great effect in the 3rd murder sequence, a truly tense scene which really had my pulse-rate running! On the subject of the murder sequences, they rely on suggestion rather than visceral impact, but are mostly effective for the electrifying and perverse tension they exude. Of the numerous killings, two of the poker-game sequences (the second and the fourth) went on for too long and the victims' shrill screams started to get annoying.The other murders, though, were wonderfully timed and quite shocking, especially since the characters are surprisingly sympathetic and better-developed than in many other Argento films. Argento has never used such a minimalist approach before, and in my opinion it works, because when those creepy camera movements, stylistic flourishes, and visual enigmas do actually occur, they have all the more impact. I'm happy to see that Argento is continuing to mature and metamorphose as a film maker. But I also admit a desire that he'll return to the all-out gory shocks and high-baroque style of his earlier masterpieces. I give 'Il Cartaio' an 8/10, just below 'Nonhosonno'.
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