Rock music and horror films have always made for great bedfellows. For years, rock musicians have provided the score and soundtracks for horror music, creating some iconic works along the way. Despite this intrinsic link between the pair of them, there are nowhere near as many horror films featuring rock bands as one might think. This is what makes Don Capria’s Director’s Cut such an interesting prospect.
Director’s Cut opens with the news of the death of punk band ‘The Suicide Disease’ before announcing that the film that follows is based on the events that led to their death. Fans of found-footage will be familiar with this narrative construct, but rather than play out in the familiar format, Director’s Cut is more traditional in its formation. Instead of being told from the perspective of those within the group, Capria expands to give the audience a more God-like view, enabling them to peek behind curtains and uncover the true threat that awaits the hapless musicians.
Desperate for fame, the band jump at the opportunity of a free music video, to be directed by a mysterious man who reaches out to them through their social media. Joined by their girlfriends, the group travel deep into the Pennsylvanian woods where they find the location of the video, an abandoned and somewhat dilapidated mansion. The condition of the building is enough to cause some to question their decision, but the promise of fame takes hold and they venture in. Once inside they are greeted by the vaguely named Mister Director (Louis Lombardi) who further unsettles some of the group, and his ultimate vision for the music video will tear The Suicide Disease apart.
What makes Director’s Cut such a compelling watch is not the violence, or Mister Director, but instead the interpersonal relationships within the band. Composed of a mixture of personalities, each with seemingly different goals for their success and future, it is hard to fully understand why any of them are making music together. As with a lot of small-town bands, their union is likely born more out of proximity than an actual liking of one another. And yet, in saying that, the group are not at each other’s throats, at least not initially. When first introduced it is clear that there are strains within, but all appear to gloss over them if it means a shot at fame and fortune.
This dynamic then shifts, and watching the clash of opinions and egos is fascinating. Witnessing the undoing of lead singer Jay (Tyler Ivey) is especially interesting with him initially positioned as a potential final boy, before veering into different territory. Each member of the group conforms to a certain trope or stereotype, with angry punk female, stoner, and the sensitive one, all healthily represented and are played well by the cast, many of whom are still in the early flurries of their acting careers. Of the cast, it is Lombardi as Mister Director that is most experienced, and he is once again in fine form, though this character may undo any fondness the viewer has for his ill-fated 24 character of Edgar.
An early feature from Don Capria, Director’s Cut wears its slasher influences on its sleeve, but does so in a way that works. This is not a clumsy rehash of films familiar, Director’s Cut instead seeks to add its own flavour to the discourse. The placing of a punk band in peril is a welcome one and provides a new on screen union between alternative music and horror that really should be paired together far more often.
Director’s Cut
Summary
American Satan meets Green Room with a decidedly Gothic aesthetic, Director’s Cut is a fun union between music and horror.
Director’s Cut opened in US cinemas on 31st October with a Digital release to follow.
