Maniac Cop (1988)

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There’s far too much plot development and far too little action in Maniac Cop. 

It is Maniac Cop’s amusing title that attracted me to the film, its tagline ‘You have the right to remain silent… forever’ also made me laugh, however William Lustig’s Maniac Cop is a classic example of all concept and no substance. A sixty-second trailer may draw you in, but the feature length production is pitifully executed.

The film opens with three murder sequences, all of which are amateurish and underwhelming. I wasn’t concerned, the film had only just begun, I was confident that it would soon shift a gear into gore hound territory; after all, the Blu-ray copy I watched was an Arrow Films release. This gear change unfortunately never happens, the filmmakers instead develop a dull, nonsensical thriller-mystery narrative rather than prove their ingenuity with corn syrup and gore. A Cormanesque producer should have economically stripped the script of generic narrative filler, emphasised its core high concept and employed Tom Savini, the highly talented and twisted SFX man responsible for the gore in films such as Dawn of the Dead (1978), Day of the Dead (1985), Friday the 13th (1980) and William Lustig’s earlier film Maniac (1980).

I can’t really be bothered to name characters or summarise plot, but I’ll try. The film opens with a young woman being chased by two hoodlums, she escapes the pair and approaches an ominous looking police officer, who, rather than serving and protecting her, strangles her to death. The film then follows Detective Frank McCrae (Tom Atkins), who believes the hoodlums’ claims that a police officer committed the crime, his evidence-bereft belief turning very quickly into adamancy based solely on his venerable cop’s instinct – this is of course all completely stupid. Bruce Campbell then turns up as Jack Forrest, a cop who is framed for the murders of the tabloid press dubbed ‘Maniac Cop’. The best performance of the film is delivered by Robert Z’Dar’s enormous jaw, it lends a palpable strength and menace to his character Matt Cordell. I am now too bored to continue writing this.

Believe it or not, William Lustig and Larry Cohen should have taken a leaf out of Troma’s book. I recently watched The Toxic Avenger, a film that, like the rest of Troma’s catalogue, tried its utmost to be completely camp and awful. Unlike the majority of Troma’s catalogue however, there are enough laughs and torrents of gore in The Toxic Avenger to make it something of a success. Maniac Cop on the other hand has no sense of humour, no excessive violence and no lashings of crass sexuality; it’s an utterly stillborn slasher film that leads its viewers through a grindingly banal narrative to a denouement that’s seriously amateurish. When the credits roll, you’ll be left wondering ‘…is that it?’

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Zero Day (2003)

zero dayAndre Kriegman (left) and Calvin Gabriel (right)

A raw, nuanced and disturbing recreation of the Columbine killers.

Zero Day is heavily inspired by Eric Harris and Dylan Klebold, the middle-class Colorado teenagers who committed the Columbine High School massacre, probably the most infamous high school shooting in US history.

The attack was the result of two damaged people becoming friends and progressively normalising each other’s warped world views. Harris was the driving force of the duo, he was confident, self-assured and bereft of a moral compass – the hallmarks of a typical sociopath. Klebold was an introverted misanthrope who suffered from bouts of deep depression and anger. The pair seemed to be a dichotomy, however they were completely drawn to each other; the film shows that the murderers of both Columbine and Zero Day were empowered by their friendship, they fuelled each other’s emerging superiority complexes and nihilism until they felt ready and even obliged to execute their shocking crimes.

I remember reading a lot about Columbine in my mid-teens, Harris and Klebold’s ages of 18 and 17 respectively seemed distant to me at the time, it is only now having long passed those ages that I realise just how young they were to have developed such morbid, poisonous psychology and then do what they did.

Harris and Klebold’s contrasting personality traits can be clearly seen in the lead characters, Andre Kriegman (Andre Keuk) being Harris and Calvin Gabriel (Cal Robertson) being Klebold. The film, which has a mockumentary format, begins with the pair setting up their camcorder and standing outside of their high school, irreverently introducing to the viewer both themselves and their ‘big ass mission’ called ‘Zero Day’. They then chart their lives leading up to this fateful event, which ranges from detailing their supposed motives and making pipe bombs to visiting the dentist and talking with their family at the dinner table. This home movie realism is complimented by Keuk and Robertson’s great performances, they responded very well to director Ben Coccio’s encouragement to improvise – they’re completely natural.

Andre has delusions of grandeur, he envisions Zero Day as some sort of Armageddon. He is also militaristic in his language, referring to it as a ‘campaign’ and stressing the importance of planning and discipline – ‘It’s a military procedure, that’s why we’re the army of two’. This self-importance was apparent too in the Columbine killers, Eric Harris smugly remarked – ‘It’ll be like the LA riots, the Oklahoma bombing, WWII, Vietnam, Duke (Nukem) and Doom all mixed together…I want to leave a lasting impression on the world.”  They aimed to not only shoot many people but also kill hundreds with bombs they planted in the school’s cafeteria, thankfully the rudimentary home made devices failed to detonate.

Andre, like Harris, is the clear ringleader of the pair. He is usually the subject of their recordings, keenly articulating his contempt for society and plans for Zero Day as well as running the viewer through their stolen gun collection. Cal is normally in the background, he’s very easy-going for someone endeavouring to murder his classmates, however he reminds the viewer of his wholehearted commitment to Zero Day in an unnerving series of 1 on 1 recordings.

Again, much like Harris and Klebold, Andre and Calvin aren’t abject loners,  they have other friends, although perhaps superficial ones, and they’re invited to a party early in the film, however Calvin finds socialising difficult – ‘I’m just not good at parties.’ It is most likely their inability to integrate with other people in a meaningful way that is their chief source of anger.

Despite this, there are moments that occur outside of their toxic ‘campaign’. Cal is talking jovially with his friend Rachel when the topic of conversation turns to Andre and Cal’s relationship with him. Rachel and Andre don’t like each other, it is revealed that Andre is rude to her, he appears to resent Cal’s attention being diverted away from him and their cause. Although completely unaware of their abhorrent plan, Rachel has the measure of the ‘army of two’, when Cal asks her whom she considers the leader of the two, she quickly says Andre, adding that ‘When you’re with him you’re different, you’re… Andre no. 2.’ 

Unfortunately, the army of two isn’t fractured by outsiders like Rachel, the massacre is realised in the film’s final moments. Their rampage is seen via CCTV footage, it is so brutally authentic that in the past I have seen it mistaken for genuine Columbine footage on YouTube. The viewer is also able to hear the events unfold via a 911 operator on a mobile phone that Andre steals from a victim; although her behaviour is credible, the operator does become irritating as she incessantly asks ‘Can you pick up?’ to Andre. I have seen the film numerous times with other people and its last scene always creates an uneasy silence.

Zero Day’s greatest merit is that it’s never heavy handed, it doesn’t contrive a clear, simple answer to why massacres such as Columbine occur. That is because there isn’t a simple answer; these atrocities are the climax of a toxic, entangled cauldron of hate, alienation, envy, disaffection and mental illness.

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