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8MM (1999)

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A private investigator is hired to discover if a "snuff film" is authentic or not.

Director:

Joel Schumacher
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Popularity
3,861 ( 902)
2 wins & 2 nominations. See more awards »

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Cast

Cast overview, first billed only:
Nicolas Cage ... Tom Welles
Joaquin Phoenix ... Max California
James Gandolfini ... Eddie Poole
Peter Stormare ... Dino Velvet
Anthony Heald ... Daniel Longdale
Chris Bauer ... George Higgins / Machine
Catherine Keener ... Amy Welles
Myra Carter Myra Carter ... Mrs. Christian
Amy Morton ... Janet Mathews
Jenny Powell Jenny Powell ... Mary Ann Mathews
Anne Gee Byrd ... Senator Michaelson
Jack Betts ... Butler
Luis Oropeza Luis Oropeza ... Archive Director
Rachel Singer ... Neighbor
Don Creech ... Mr. Anderson
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Storyline

A small, seemingly innocuous plastic reel of film leads surveillance specialist Tom Welles down an increasingly dark and frightening path. With the help of the streetwise Max, Welles relentlessly follows a bizarre trail of evidence to determine the fate of a complete stranger. As his work turns into obsession, he drifts farther and farther away from his wife, family and simple life as a small-town private eye. Written by Columbia Pictures

Plot Summary | Plot Synopsis

Taglines:

Be careful when you kill a monster, that you don't become one yourself See more »

Genres:

Mystery | Thriller

Motion Picture Rating (MPAA)

Rated R for strong perverse sexuality and violence, and for strong language | See all certifications »

Parents Guide:

View content advisory »
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Details

Country:

Germany | USA

Language:

English

Release Date:

26 February 1999 (USA) See more »

Also Known As:

8 Millimeter See more »

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Box Office

Budget:

$40,000,000 (estimated)

Opening Weekend USA:

$14,252,888, 28 February 1999

Gross USA:

$36,663,315

Cumulative Worldwide Gross:

$96,618,699
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Runtime:

Sound Mix:

Dolby | SDDS

Color:

Color

Aspect Ratio:

2.35 : 1
See full technical specs »
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Did You Know?

Trivia

The studio did not like the film at all. The content was too dark and felt the film was a money loser despite some good reviews and also the fact that it made money at the box office. Amy Pascal took alot of heat for green-lighting it at the time despite it's now cult status. See more »

Goofs

When Longdale is killed with an arrow, he is holding a gun still. Then Tom gets the drop on Eddie and machine. Eddie then lays on the ground directly beside where that gun would've fallen trying to reach a gun that not only was very far from his reach. But also could've linked him to the scene if he had reached it to shoot Tom. See more »

Quotes

[first lines]
Airport Announcer: Welcome to Miami. While in the airport, please observe Florida and local laws which prohibit any smoking in the terminal. Thank you for not smoking.
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Alternate Versions

The film was heavily cut before release to gain an 'R' rating. Joel Schumacher's audio commentary on the DVD points out the multitude of MPAA cuts throughout the film. The cuts include:
  • Sex throughout the movie. For example, background sexual activity was trimmed under the "no more than two buttock-thrusts rule"
  • A lot of a conversation between Phoenix and Cage was removed because a bank of TV monitors in the background were showing hardcore pornography footage
  • Sequences in the underground sex club were trimmed to remove shots of enema porn (which were in fact real)
  • Machine's cutting of Phoenix's throat was edited.
See more »

Connections

Referenced in Cold Case: Daniela (2004) See more »

Soundtracks

Sick With It
Written by Tairrie Beth, Marcelo Palomino, Rico Villasenor & Brian Harrah
Performed by Tura Satana
Courtesy of Noise Records
See more »

Frequently Asked Questions

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User Reviews

 
An Voyeuristic Thriller About Human's Capacity For Evil
12 September 2008 | by jzappaSee all my reviews

There is a lot to be said about skill. Joel Schumacher is responsible for Batman & Robin, one of the most horrendously made movies in the past 15 years. One could have said upon leaving the theater in 1997 that Joel Schumacher is one of the worst directors working today. Two years later, Schumacher creates something, albeit with commercial sensibilities, that succeeds on many levels. 8mm is a murky, scuzzy passage through the miserable, dystopian criminal world of snuff films, taken on by a private investigator who is dismayed and scarred by what he unearths. It probes the resources of violent exploitation films, but not as a violent exploitation film. It would more accurately turn your stomach than amuse. Andrew Kevin Walker, who wrote Seven, and again establishes a protagonist who confronts evil and nearly loses his sanity in an effort to understand its reasons. The answer comes almost at the end of the film, from its most vicious character, but his rationale wittingly refrains from going as deep as the psychological world of his deeds. Joel Schumacher has an attraction to sinister, perhaps Gothic environments, even if his previous films that follow that pattern aren't so great, like The Lost Boys. Here, with Mychael Danna's sorrowful score and the great Robert Elswit's guilty, peeping camera, he fashions an impression of apprehension even in the few scenes where the story takes solace in Cage's home life. One director would not be wrong to shock us with a comparison to the unsuspecting atmosphere of Cage's residential street or the opening airport shot, but Schumacher perceives the looming subterranean goings-on beneath the unsuspecting.

The intent of the story is to consider a rather everyday individual and provoke him into such a troubling conflict with pure evil that he himself is pushed to torture and murder. He lives an unexciting but mostly happy life with his wife Catherine Keener and their infant daughter. He went to a good school on an academic scholarship, however while his contemporaries went through the most conventional motions to become lawyers, doctors, bankers, he chose a line of work comprised of following, shadowing, investigating, staking out, watching. For the sake of a comfortable living, he accommodates an upper crust circle of socialites and politicians. Nevertheless, this case which he almost does not take is unique. He is sent for by the attorney of a rich widow whose husband has just died. Whilst rummaging through the inside of her husband's safe, she and the lawyer find an 8 mm film of what seems to be the vicious slaying of a teenage girl by a large masked man. Cage convinces himself that the film, while horrifying, is simulation, but the widow wants him to confirm this for sure.

8mm doesn't consider the story's dilemmas merely as opportunity for money-making set pieces like action scenes. When Cage has the chance to take revenge, he doesn't have the command of his motivation because he does not have the same capacity for murder that his prospective victims have, and he essentially calls a character wounded by this person and provokes her to talk him into it. That is a novel approach the protagonist's vengeful turning point, and it elicits subliminal moral uncertainty that the audience has to take in hand.

8mm is a conventional studio thriller, but it is a real movie. It is all content and the suitable approach to that content. It is about human's aptitude for malevolence, conjecturing just deep it can go and how little we care to know of it in ourselves.


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