Once upon a time Rey Ciso (Adam Brooks) was the greatest editor the world had ever seen. He had the skills. He had the women. He had everything. But now, after nearly losing his mind and actually losing some of his fingers, he’s reduced to working on schlocky exploitation thrillers, and being ridiculed by the cast and crew. Life takes a further turn for the worse when he becomes the prime suspect to a series of gruesome murders. As he fights to prove his innocence, he’ll encounter tenacious detectives, nudity, alternate dimensions, nudity, black gloved killers, and more nudity. Welcome to the world of Astron 6’s The Editor.
Those familiar with Astron 6’s previous work, such as Father’s Day and Manborg will already know what they’re in for with this bloody slab of Giallo inspired lunacy. Directed by Adam Brooks and Matthew Kennedy – who also wrote it along with star Conor Sweeney – The Editor ticks off all the tropes we’ve come to expect from 70s European horror. Bad hair, sexy women, rocking soundtracks, overdubbing and sometimes woeful translations. This is a slick looking film that reminded us of Berberian Sound Studio as much as it did The Bird with The Crystal Plumage.
However, as we’ve mentioned before, you can’t just ape a genre, dust your hands off and say you’re done – Death Proof we’re looking at you – there’s got to be some sort of heart behind. And thankfully, with The Editor it’s the little things that make it fun, such as the running joke that this all-American tale is actually nearer to Italy and the overblown red herrings that point the finger at everyone. Like a blood splattered Naked Gun, you don’t have to have an encyclopedia sixed knowledge of the genre to get the joke.
With each new film, the boys at Astron 6 prove their love for filmmaking and storytelling. Here, The Editor shows what they can do with a big(ish) budget. It’s bold, it’s confident and we can’t wait to see what else they come up with.