Anamorph: A Mini Review by Nate Hill

  

Anamorph is a loving ode to the wilfully nasty serial killer flicks of the 90’s, obviously borrowing heavily from a few specific ones, the clearest example being Fincher’s Sev7n. It’s got the same dank, dispirited tone of that one, a restless urban nightmare wherein one lone detective searches for a heinous murderer that seems to elude him every step of the way, leaving increasingly grisly crimes in his wake. The detective here is Stan Aubrey (Willem Dafoe), a troubled fellow suffering from OCD, as if he didn’t have enough to handle, with a killer on the loose. Dusky New York streets are the predator’s playground, and he kills using some very elaborate, and very u settling techniques. Anamorphosis is a method used during times such as the Renaissance, where a painter would create a seemingly nonsensical sprawl with neither shape nor form, but when looked at through a tiny window of exposure (camera obscure), or from a painstakingly meticulous angle, a new image comes to light, in this case providing Dafoe with clues. Now this isn’t any Renaissance painter we’re dealing with, and he doesn’t use oil base, if you catch my drift. The crime scenes in this film are very, very horrifying and hard to watch, almost on the level of Sev7n. Dafoe gets help from his art fanatic buddy Blair (Peter Stormare), and tries to look after the troubled Sandy (a moody Clea Duvall), the relative of a deceased friend. There’s also work from Yul Vasquez, Scott Speedman, Don Harvey and the late James Rebhorn. Nasty stuff, this one, but stylish and well worth a late night watch with the lights low and your nerves on edge. 

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