At the very least, this movie needs better cinematographic direction.
The soundtrack blares 80’s-style à la Winding Refn’s Drive synth music score every time the killer prowls the streets of L.A. on his minivan or his taxicab (yes, sometimes he’s driving a taxi, without any explanations). Then the camera assumes the maniac’s P.O.V. when he stalk his victims but later shifts arbitrarily to third person P.O.V. to show his face whenever the filmmakers feel like it, while on other instances they can show it just as effectively on mirror reflections. The camera, still on the killer’s perspective, also jumps around from and to improbable spaces, in impossible timings, in implausible proximity to the lady victims, so stealthy without being noticed, as if he doesn’t even make any breathing or footsteps sound. It dampens the sense of realism, and also mutes the sense of terror because we always know exactly where this unrealistic killer is.
The wacko doesn’t even wear any gloves, so it’s puzzling enough that the police are unable to nab him much earlier. But remaking a 32-year old slasher movie also has another downside on the story logic: none of the victims are even attempting to use their cellphones to dial 911 while being chased on some amazingly vacant public places.
My Rating: 4/10