Is "DIRECTOR'S CUT" (2024) A Bold New Franchise Or A One-Hit Wonder? (REVIEW)
We’re not sure if all places are like this but if you live on Long Island, it’s virtually impossible not knowing someone in a band. Wannabe rockstars litter the landscape. Live here and you’ll eventually be asked to show support by hitting a venue. Gig after gig, demo after demo, always coming this close to breaking through but the van broke down, the drummer got a “real” job or the money ran out. After a while, you start to spot wannabes all over the place. It’s the kid ringing your groceries at the local supermarket, tattoos peaking out under the sleeve of their wrinkled shirt, the young girl behind the taps at your local always singing while she wipes down the bar. There’s a hunger in these kids that’s exciting and heartbreaking at the same time. You root for them, even when you know most will still be stocking shelves or waiting tables years from now still waiting on that big break. These are some of the elements that Don Capria (ANECDOTA, BUCKOUT ROAD) gets right in “DIRECTOR’S CUT.” It is a film that captures the look and feel of a band in chaos but loses the beat when it comes to building effective scares and establishing a franchise-worthy villain.
THE RIFF:
Suicide Disease is on its last legs. They haven’t played a gig in ages; the infighting is escalating to the point of no return, and they can’t agree on a direction for the band. Insufferable lead singer Jay (Tyler Ivey) wants to write and record new music; John Mayhem and Juan all want to tour so they can start making money again. A solution they can all agree on comes when AJ, their manager, connects with a mysterious producer who promises to film a free video at a remote location in the Pennsylvania woodlands. Time is ticking, though, as the mansion he’s rented is only available for a week. Jumping in headfirst, they pack up the van, and off they go. They’re greeted by the aforementioned producer, the wheelchair-bound “Mr. Director” (Louis Lombardi), and his assistant, Babs (Lucy Hart). Affable and charming at first, the band soon comes to realize that their hosts have something sinister in mind as their solo rehearsals give “break a leg” new meaning.
THE HITS:
Capria gets the look and feel of a struggling band down perfectly. We’ve known enough in our day to testify it rings true. Do the characters lean into stereotypes, for sure, but so do bands. We’ve got no problem with that, and the actors do a fine job of playing into their roles, whether that’s the stoner, the temper, or the peacekeeper. The girlfriends, Val (Danielle Kotch) and Jen (Haley Cassidy) round out the ensemble cast well, adding a layer of interpersonal drama to the mix with their own agendas separate from the band. The acting really is the selling point of this indie feature. We’ve seen many films sunk by poor performances and odd character choices. The backbone of this film is the relationships the bandmates have, and Suicide Disease feels like a band that has been together forever. This had to be an organic feel to pull it off effectively, and the actors nailed it. Kudos to Lucy Hart as “Babs,” the assistant who turns out to be more of an enforcer. The menace comes through in their performance, and it’s one of the most effective in the film.
THE MISSES:
How do we possibly critique Louis Lambardi, his sweet face, and endearing lisp make him a teddy bear of a man. Maybe that’s the issue: you want to hug him, even if he does some truly despicable things. There’s virtually no menace to the character whatsoever, and that’s not great for a film that needs a true heavy. The actors aren’t supported much by the script, which needed a 2nd and 3rd pass to take out some of the sweat and tighten plot holes and head-scratchers. Our main critique is that the film just isn’t scary. The tension built in scenes isn’t capitalized on at all and the kills are lackluster at best. There’s some impressive effect work here but not enough to truly showcase the carnage. None of this comes together to deliver effective thrills. As the credits roll you’re left shrugging.
THE DROP:
Overall, “DIRECTOR’S CUT” disappoints. A meandering first half and a plodding second overshadow its sparks of creativity and finesse. Ultimately, this film feels more like a cover than an original
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