Maniac (2012) DVD Review

MANIAC-001Maniac (2012)
Dir: Frank Khalfoun

Starring – Elijah Wood, Nora Arnezeder, America Olivo.

Remakes are an emotive subject. It is difficult for anyone to limit their emotional response when somebody suddenly imposes their “re-imagining” of a perfectly good or personally treasured movie. But, as remakes are obviously here to stay, it is important to try and stifle that response in order to gain a true and clear impression of the new film. Remember, for every Halloween (2007) there is a Dawn of the Dead (2004), for every Prom Night (2008) there is a The Thing (2011).

And so we come to Maniac (2012), director Frank Khalhoun’s version of one of the 80s’ most revered – and reviled – horror movies. On first viewing, one initially wonders why they bothered calling it “Maniac”; films of this ilk are generally fairly similar anyway (how different can they really be – not a criticism, more a stating of fact) and the “new approach” here could just as easily be a remake of New York Ripper. Certainly in striving for the filth and sleaze of William Lustig’s original, it only manages the cruelty and sadism of Fulci’s notoriously misogynistic “classic”. Of course, we know the reason, really; money, the root of all evil.

Writers Alexandre Aja (he of the excellent Haute Tension, but sadly sidetracked seemingly to remake hell since his move to Hollywood) and Gregory Levasseur try to bring Joe Spinell’s screenplay into the 21st century by introducing internet dating as a fertile hunting ground for the titular Frank Zito, which makes sense. What makes less sense is the apparent move to Los Angeles, which seems to have no point except to distance this movie from the original, which again just begs the question from the previous paragraph (crikey, this is in danger of becoming a particularly vicious circle).

maniacluke3Aja and Levasseur have also given a lot more attention to Frank’s past and his mother fixation, which Khalfoun enthusiastically brings to the screen in the form of lots of salacious sex scenes and shots of boobs. Again we are brought face to face with the delusion which a lot of people who make films seem to suffer from; that single mother crack whores who live in bedsits all look like super models. If they really wanted to capture the essence of what made Maniac, Frank’s mum should have been a toothless old crone with a beer belly and a flick knife hidden up her fanny.

One issue which the film continually struggles with is the central casting. Whilst you can imagine that getting Elijah Wood might seem like a bit of a coup for a horror remake, the reality is that it just becomes a monstrous elephant in the room; it is not possible to accept the diminutive Wood as somebody capable of overpowering and brutally murdering a lot of women (some of whom here are a foot taller than him). Also, the character now is a pretty boy, well turned out “artiste” and owner of a shop where he now displays his mannequins. This makes the appearance of his hands (which get numerous close ups) seem completely incongruous; they are dirty, rough, calloused and surprisingly big. It’s as though this little guy has had a double hand transplant and ended up with the real Frank Zito’s hands – now THAT would be a good movie, he inherits the hands of a maniac and they compel him to kill, kill!

maniacluke2Big and glitzy compared with its source material, Maniac (2012) misses the point of Spinell and Lustig’s collaboration, which is a genuinely effective portrait of madness (in no small part to Spinell’s performance of a lifetime). In 1982, we feel sorry for Zito, not because he has any redeeming features, but because of what he is, what life has made him, in the same way in which you might feel pity for a toad under a rock. In 2012, we are being coerced (unsuccessfully) into having sympathy for him, by the introduction of a palatable appearance and such hackneyed and unsubtle plot tools like the little boy mannequin, which represents Frank as a child and which the adult Frank cherishes and protects.

Bearing that in mind, the only way to watch Maniac (2012) is to embrace its flaws and view it as a straightforward slasher movie. As such, does it pass muster? Well, it’s watchable, which is a compliment these days. It suffers from the same problem as many big budget remakes, in that the star turns, money and glamour just make it seem all the more cynical when compared with its honestly exploitative inspiration.

maniacluke1Since I wrote the original draft of this article, I have since read Mark Kermode’s new book, Hatchet Job, in which he cites a review of this movie which read simply “by dummies, for dummies, about dummies.” So before you dismiss this review as a simple remake bashing, bear that in mind and cut me some slack.


As an interesting aside, my little brother once bumped into Elijah Wood in a nightclub in Prague and the little hobbit was wasted on absinthe. He left a personalised answerphone message on my brother’s mobile, pronouncing (in a terrible cockney accent) “hello, my name is Elijah fucking cunt Wood”, which I thought was a bit harsh. A bit.

Maniac (2012) DVD Review


MANIAC (2012) 
Dir. Franck Khalfoun                 85 mins
Metrodome Distribution
UK Release: 1st July 2013

Let me get this straight, they got Frodo Baggins to play Frank Zito? Cherubic, youthful, wholesome Elijah Wood? How can someone like that step into the shoes of the legendary Joe Spinell and the sweaty, sleazy, pock-marked, overweight Frank Zito that he himself created. These were my and many others initial thoughts once the remake of the classic 1980 Bill Lustig horror was announced, and isn’t it nice just to be proved wrong once in a while.

The first similarity that strikes you about this version of Maniac is the similar obsession with these detached lingering shots of the city. In the original it was the dirty rundown sleaze-pits of New York, now though we are relocated to what seems like LA, albeit retaining an obsession with the grimy nocturnal activities.

Frank Zito, the lead character is a different proposition in the 21st century. Instead of picking up two bit hookers on 42nd street he’s surfing online dating sites to find his next prey, and that’s exactly where we have an early kill to the sound of that infamous serial killer tune Goodbye Horses by Q-Lazzarus. We don’t initially catch sight of Frank as the majority of the film is shot from his point of view, a pretty ambitious and very successful idea. All we see are glimpses of him in mirrors and the odd photograph, as well as these blistered hands with oozing callouses and filthy fingernails. When we do see Elijah Wood he embodies the role, looking thin, worn, unshaven and somewhat seedy.
Frank’s profession is that he owns a mannequin store, passed through the generations and specialising in restoring antique mannequins. Its outside this shop he meets French photographer Anna (Nora Arnezeder). She is impressed with the artistry of his collection and he invites her in, while leaving behind her phone number upon going home hinting at a potential friendship.

The murder set pieces for the remake a largely different, which in my opinion is another positive as how could you possibly recreate Joe Spinell leaping onto a car bonnet and shooting Tom Savini in the head. That is without doubt one of the most memorable scenes in any horror film from that period, and to recreate it would be a huge mistake. Having said that though, the new murders are all memorable in their own way, and with make-up by Greg Nicotero and Howard Berger, the gore is exemplary.

The film progresses in a similar way to the original in that Frank gradually targets several women of differing backgrounds while at the same time growing closer and closer to Anna about whom he begins to feel quite protective about. There are a few nods to the original film, one of which is a glorious recreation of the infamous Maniac poster during one of the murder sequences – check out the reflection in the car!

A criticism may lie in the development of Frank’s back story, which tells of life with his mother and her lurid ways. I’m not too sure if this needed to be told, and I must admit I prefer a little ambiguity in these circumstances rather than “well, Frank is like this because of this”.


It’s a minor quibble however in a film that impressed me a great deal. Maniac from 1980 is one of my favourite horror films, not least because I think the performance of Joe Spinell is absolutely phenomenal. Ideally, I’d have preferred them not to remake it – after all, how can you remake perfection? They did though, and to be honest I don’t think they could have done a better job. With remakes, that’s as good as it gets.

7.5 out of 10