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.
Tom returns to his hometown on the tenth anniversary of the Valentine's night massacre that claimed the lives of 22 people. Instead of a homecoming, however, Tom finds himself suspected of committing the murders, and it seems like his old flame is the only one will believes he's innocent.
With a dead body laying between them, two men wake up in the secure lair of a serial killer who's been nicknamed "Jigsaw". The men must follow various rules and objectives if they wish to survive and win the deadly game set for them.
A killer known as Ghostface begins killing off teenagers, and as the body count begins rising, one girl and her friends find themselves contemplating the "Rules" of horror films as they find themselves living in a real-life one.
As a deadly battle rages over Jigsaw's brutal legacy, a group of Jigsaw survivors gathers to seek the support of self-help guru and fellow survivor Bobby Dagen, a man whose own dark secrets unleash a new wave of terror.
It's ten years after the kidnapping of Martin Bristol. Taken from a backyard swing at his home at the age of six, he is forced to witness unspeakable crimes of a deranged madman. For years, Martin's whereabouts have remained a mystery...until now.
R. Brandon Johnson,
A musician witnesses the murder of a famous psychic, and then teams up with a fiesty reporter to find the killer while evading attempts on their lives by the unseen killer bent on keeping a dark secret buried.
Someone is strangling coeds in Perugia. The only clue is that the killer owns a red and black scarf, and police are stumped. American exchange student Jane and her friends decide to take a ... See full summary »
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
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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