The Editor (2014)

Very very predictable, including the post credit scene !!!

Sadly Over-hyped

I am only giving this movie a 1 for the great cast, though I can't imagine what any of them were thinking. This movie was horrible

Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

Rey Ciso (Adam Brooks) was once a top film editor. Then a nasty accident resulted in the loss of some fingers, and he ends up cutting trashy horror pictures. Murders begin to plague the production of his current film, and the inspector on the case (Matthew Kennedy) is sure he's responsible.There's a fair amount of suspects in this very knowing, dead-on parody of the Italian murder mysteries known as Gialli. The Canadian filmmaking collective Astron-6 (including Brooks, Kennedy, and co-star Conor Sweeney, who plays untalented actor Cal Konitz) obviously took a fair amount of care with this one, and had a bigger budget than usual. They also shot it in 2.35:1 to keep it stylishly connected to Gialli of the past. The story has its share of twists (among them, the ending), and it keeps viewers amused and interested. The gore is delightfully way over the top, and nicely realized. The film is not always terribly funny, but when it hits, it hits HARD. Among the brightest gags are references to both Dario Argento and Lucio Fulci; Fulci's body of work in particular gets a frequent shout-out. The music is great - among the composers credited is Claudio Simonetti, so it's no surprise that the score is Goblin-esque at times.The acting is much like what one would see in a vintage Giallo. Brooks actually does a passable Italian accent, and is a likeable hero. Kennedy is fun as the bumbling inspector. Paz de la Huerta ("Nurse 3-D") vamps it up something fierce as Rey's wife, a faded former film star. Laurence R. Harvey ("Human Centipede" 2 and 3) is a flustered priest, Tristan Risk ("American Mary") the sexy Veronica, but German legend Udo Kier is rather wasted as the briefly seen head of an asylum. Still, it's always nice to see him in anything.Overall, a good, respectable effort, worth a look for any fan of the Gialli genre.Seven out of 10.

When the lead actor in a horror film that he is working on is murdered, a film editor has to contend with an egotistical replacement actor, a wife who takes too much interest in his work and a detective who thinks that he is guilty in this weird mix of horror, comedy and mystery elements. Co-director Adam Brooks is great as the jaded, ageing editor in question who claims that he has trouble distinguishing between movies and reality, and its best, the film blurs this line. There are several points where something grisly occurs and it takes one a while to work out whether it is 'actually' happening or just a part of the film being edited. There is also a neat homage to 'Videodrome' late in the piece - Cronenberg's iconic film about a network programmer unable to separate hallucinations from reality. For the most part though, 'The Editor' is just odd. The story does not make much sense with some uncanny supernatural elements and some unexplained bizarreness in which Brooks actually seems to enter the reels of the very film he is editing at one point. The final twist at the end is baffling too. Brooks is, however, the only actor who plays his part in a down-to-earth manner and with everyone else overacting, turning it up to 11, it seems evident that the film was intended to be a comedy first and foremost. If one does not focus on deciphering the plot too much, the film does in fact have several funny bits and pieces. The dialogue of the film within the film is hilariously bad, and then there is a replacement editor who insists that 'The Battleship Potemkin' was edited by Albert Einstein!

The Canadian group Astron-6 (formed by Steven Kostanski, Adam Brooks, Matthew Kennedy, Conor Sweeney and Jeremy Gillespie) is specialized in parodying the '80s with films overflowing of style, energy and a particular sense of humor which makes them transcend the nostalgia in order to become something special and memorable by themselves. Astron-6 had made a satire of slasher cinema with Father's Day, and of post-apocalyptic science fiction with Manborg (not to mention its numerous short films, many of which can be watched on YouTube). More recently, in the movie The Editor, it makes a tribute/parody of "giallo"; those thrillers bathed on blood and sexuality which used to be popular in Italy during the '70s and '80s. The most famous exponent of that style is, of course, Dario Argento, but many other directors also contributed to it, such as Sergio Martino, Umberto Lenzi and Mario Bava. Having said all that, I have to admit that I have generally not been a big fan of giallo's. I definitely appreciate its bloody violence (which was rarely realistic, but always excessive), and I also like the distinctive electronic music which usually accompanies it; but, with the exception of Argento's films, I find giallo simplistic and repetitive, with confusing and incoherent screenplays which rarely satisfy on the most elementary narrative level. Fortunately, those problems become pros when they are filtered by Astron-6's sensibility. The story of The Editor has all the ingredients required by the recipe (not to mention dozens of references to the directors and films which inspired it): grotesque deaths, mediocre special effects, beautiful women, bad dubbing, anachronistic misogyny and various suspects who can be the mysterious killer of the black gloves. The exaggerated imitation of those elements is essential for the humor of The Editor, but it's not its only virtue. Like it had done in Father's Day and Manborg, Astron-6 gradually moves from familiar territory in order to add twisted digressions and unexpected surprises, including a series of final twists, each one of them more bizarre than the previous one, until leading to an "ending ending" which is simultaneously ingenious and ridiculous. On the negative side, The Editor occasionally feels a bit repetitive, and I think I was kinda expecting something more extreme and shocking from Astron-6; however, on the other hand, this might mean the fact that the group is maturing, and I will definitely keep looking forward to its next films. In the micro-universe of tributes, satires and revivals of giallo cinema, I would place The Editor above Amer and Berberian Sound Studio, but below The Strange Color of Your Body's Tears, which was basically incomprehensible, but I think it handled the giallo style on a more artistic way. Nevertheless, I liked The Editor pretty much, and I recommend it with the warning that this film will definitely not be everyone's cup of tea.

If you never have seen those old school Italian horrors called Giallo then you will never understand this flick. The way the sound was created (overdubbed?), the score, the editing, the lighting it all referred to the seventies galore of the Italian genre.The story itself is what it should make funny, sometimes it was sometimes it didn't work at all. But overall this flick delivers on gore. The effects are top-notch. But again, it's the story that tears it a bit down. You can refer to those classics but don't exaggerate. After half an hour you have seen it all on that part. So if you aren't into Giallo's then this isn't going to be your thing, for the geeks they will search to all those references made towards the classics, I did, and get lost of the story somehow and that isn't good news. But it contains what makes a good Giallo, the glove, the POV from the knife, the eye stabbing and of course a lot of gratuitous nudity.But the story guys....Gore 1,5/5 Nudity 2,5/5 Effects 4/5 Story 2/5 Comedy 0,5/5