You wanted real death. The internet gave you something worse. Goldhaber turns a fake snuff legend into a sharp, nasty critique of our numb, scrolling eyes. Trashy finger-wagging fun.
The original Faces of Death arrived in 1978 with a dirty secret. It pretended to show real death. Audiences believed it anyway. That grainy, low-budget shock piece became a cult legend by the mid-80s, passed between VCRs like contraband. Parents warned their kids. Video store clerks whispered about the monkey scene. None of it was real. The stock footage was real, sure, but the staged killings? All fake. Still, the myth grew. Sequels followed. Cheap cash-ins. The name meant one thing: forbidden footage.
That was then. The internet changed everything.
Now anyone can find actual violence in ten seconds. So what does a new Faces of Death even offer? Writer and director Daniel Goldhaber, who made the tense eco-thriller How to Blow Up a Pipeline, has a smart answer. He shifts the horror from the footage to the viewer. His 2024 remake buries a serial killer hunt inside a sharp question: what happens when we stop being shocked?
Barbie Ferreira plays Margot, a content moderator for a safety-focused platform. She watches videos all day. Most get approved. That is exactly how her manager likes it. But then Margot spots several murders that look terrifyingly real. They connect to a killer (Dacre Montgomery) reenacting scenes from the original Faces of Death. Her investigation pulls her into an audience that craves the brutality and leaves digital footprints any tech-savvy psycho can follow.
This new Faces of Death does not recreate the 1978 film. It reinvents the legend for an attention economy where business is always booming. And that makes it worth a closer look.
Faces of Death 2024 Review: A Smarter, Nastier Remake for the Attention Economy
A Horror Movie Review by George Wolf
It’s almost quaint now to remember the word-of-mouth infamy achieved by the original Faces of Death in 1978. By the mid-80s it was a cult favorite at the video store, with a lurid promise to unveil shocking video of real fatalities.
Though the non-stock footage was faked (yes, even the monkey scene), hyperbolic stories of the film’s effect continued to gain traction and the sequels were cranked out.
This new Faces is not one of those. Writer/director Daniel Goldhaber smartly brings that pre-viral legend into the internet age, tucking the bloody hunt for a serial killer inside the dulling nature of modern-day voyeuristic fetishes.
Barbie Ferreira stars as Margot, who works as a website content moderator for a company promising to protect “the young and innocent.” Though she occasionally flags a video for violations, most make it through – which is just how her manager prefers it. But when Margot sees some videos of murders that look alarmingly real, it sets her off on the trail of a killer (Dacre Montgomery) intent on recreating scenes from the original Faces of Death.
Though employees at Margot’s firm are strongly discouraged from researching the videos they moderate, she begins sleuthing. What Margot finds, of course, is an internet audience eager for the brutality, and online footprints that aren’t difficult for a tech savvy psycho to follow.
Stupid decisions (especially by young people) are a staple of horror films, and Margot makes a maddening amount. But Goldhaber (How to Blow Up a Pipeline) is able to mirror most of them alongside the questionable bargains we’ve made as a web-obsessed society.
“It’s an attention economy, and business is booming.”
Our killer (Montgomery gives him both Silence of the Lambs and Red Dragon vibes) know his audience, and Goldhaber gives the funny games he plays with both his victims and Margot a nice sense of tension. Sure, you may want to slap some sense into most of these people, but then again, is your own browser history MENSA worthy?
The rough patches in the story go down easier thanks to the savvy, in-the-moment winks Goldhaber flashes while telling it.
Why has the explosion of technology that holds so much positive potential continued to reveal the worst parts of ourselves? If you give the people what they want, how culpable are the people that want it?
Michael Haneke may have asked the question more eloquently, but Goldhaber and Faces of Death have more trashy, finger-wagging fun.
