The Ugly (1997) Film Review – A Face Only A Mother Could Love

Posted on by Jim Cox

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The Ugly is a 1997 New Zealand psychological horror thriller film written and directed by Scott Reynolds. Cutting his teeth with the short films The M1nute (1992) and A Game with No Rules (1994), Reynolds would go on to make The Ugly his first feature-length title. He would later write and direct Heaven (1998) and When Strangers Appear (2001).

Confined to a mental institution, disturbed young serial killer Simon Cartwright is tormented by cruel orderlies and his own personal demons, including “The Ugly”, which compel him to kill. Now, at his request, Dr Karen Schumaker arrives to discover whether Simon is fit to be released back into society. As the terrifying secrets within Simon’s mind are revealed, no one will be left unscathed by the horrors about to be unleashed.

The narrative blends an interview between the psychotic killer and a psychiatrist co-protagonist with the killer reliving the murders, and the lines between these framing elements blur as they merge—amalgamating into a single scene at points. Not only does this give a vivid visual representation of the killer’s fractured mind, but it also subtly signals that much of the film is delivered through the killer’s perspective. The fractured nature of these flashbacks, along with instances of blood being replaced with a greenish-black, tar-like substance, provides a subtle, unintrusive insinuation without spelling it out. 

As such, this also adds an element of an unreliable narrator into the mix. With the murderer clearly suffering from paranoid schizophrenia, his retelling of the murders from his perspective can call into question the validity of certain elements of the events. This uncertainty places the audience in a similar position to the film’s co-protagonist, psychiatrist Dr Karen Schumaker, left to discern fact from fiction within the mystifying tale.   

Despite this, the narrative isn’t without its issues. Its writing introduces numerous plot points, which are seemingly glossed over towards its conclusion. Furthermore, the idea that an orderly would be allowed to perform their duties without a shirt on is a strange (and mostly unnecessary) addition that doesn’t quite make sense. 

Featuring a penchant for drawn-out shots, The Ugly’s cinematography utilises elongated takes with an abundance of tracking, tilts, and pans to create an uncomfortable atmosphere. While the film features a whole host of differing cinematic styles and rapid, stylish editing, these lengthened takes undoubtedly stand out in comparison. Additionally, being shot on film, the visuals feature a pronounced level of grain—adding a layer of grittiness to the visuals.

Containing a wealth of New Zealand talent in its roster, the entire cast provides fantastic performances in their respective roles. However, the real standouts come from our co-protagonists, serial killer Simon Cartwright, played by Paolo Rotondo, and psychiatrist Dr Karen Schumaker, played by Rebecca Hobbs. Dominating each scene they’re in, their performances, both together and separately, are certainly the film’s driving force throughout.

While the film mostly consists of an orchestral score, its absence honestly benefits it the most. Though its low-drowning strings gradually build tension through their growing veracity, its lack of implementation can often exacerbate this atmosphere moreso—especially when combined with the drawn-out cinematography. 

An absorbing psychological thriller with supernatural elements, The Ugly is an engaging exploration of the confession narrative prevalent in true-crime dramas and paranormal phenomena to produce a distinct blend of the two. While not as graphic as, say, Confessions of a Serial Killer (1985) or Henry: Portrait of a Serial Killer (1986), its unique implementation of special effects, outstanding performances, and gritty atmosphere still delivers an intriguing crime thriller.

The Ugly (1997) is available to preorder on Unearthed Films’ website here. (Available April 21st)

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