6.4 | / 10 |
| Users | 0.0 | |
| Reviewer | 4.0 | |
| Overall | 4.0 |
This movie continues in the same vein as F.O.D. 1 with short scenes of death related material. Mortuarys, accidents, police work are filmed by TV crews and home video cameras. Some of the material are most likely fake, some not as likely.
Director: John Alan Schwartz| Horror | 100% |
| Documentary | 7% |
Video codec: HEVC / H.265
Video resolution: 4K (2160p)
Aspect ratio: 1.33:1
Original aspect ratio: 1.33:1
English: DTS-HD Master Audio 2.0 Mono (48kHz, 24-bit)
English SDH
Blu-ray Disc
Two-disc set (2 BDs)
4K Ultra HD
Region A (B, C untested)
| Movie | 2.5 | |
| Video | 4.0 | |
| Audio | 4.0 | |
| Extras | 2.5 | |
| Overall | 4.0 |
1978’s “Faces of Death” was an attempt to see if finality could be sold to the masses. The lurid picture offered a collection of death to peruse, with host “Dr. Francis B. Gross” helping viewers through an assortment of horrible happenings and disgusting imagery, while director "Conan Le Cilaire" (a pseudonym for John Alan Schwartz) attempted to find meaning in the messiness, straining to sell ideas on inhumanity while stitching together displays of bodily destruction. “Faces of Death” became a cult hit, with home video turning the feature into a grand game of dare-you-to-watch-this for many, so, naturally, Schwartz was going to try again. The problem with the original film was its use of staged sequences to make sure the release was stocked with shock value. For 1981’s “Faces of Death II,” Schwartz limits the use of fakery, electing to work with news footage instead, looking to give his sequel more realism as Dr. Gross returns to once again “travel through the world of death.” The previous endeavor was a semi-ridiculous creation, and “Faces of Death II” certainly has its moments of unintentional humor. It’s also a more direct shot of horror, with the helmer collecting an assortment of dangerous encounters and disasters, creating a mix tape of misery that carries on for far too long.


The image presentation for "Faces of Death II" is listed as "presented in Dolby Vision HDR and newly scanned and restored from its 35mm original negative elements." Much like the original "Faces of Death," the sequel is mostly comprised of news footage from various sources. There's inherent roughness to the scenes, but the viewing experience holds together. The Dr. Gross sequences show some signs of frame damage, but largely remain intact. Detail reaches are far as possible, with Dr. Gross footage obviously the most refreshed, offering a sense of location and interiors spaces as the character moves around various environments. News footage isn't always pretty, but the primary point of "Faces of Death II" is made as macabre imagery is easily understood. Color battles tech limitations and age of the news clips, but red blood remains distinct, along with hues on animals and items of clothing. Dr. Gross tours deliver distinct greenery. Skin tones are natural. Blacks are deep, supporting evening activity and limited lighting. Highlights are tasteful. Grain is nicely resolved.

The 2.0 DTS-HD MA mix provides a basic understanding of narration and discussion from Dr. Gross, with his thoughts and commentary remining intelligible throughout the listening event. Musical offerings are appreciable, and support the grim tone of the picture, but some age is understood.


Schwartz doesn't completely turn away from fictional footage in "Faces of Death II," detailing a 1979 drug store robbery where the cops and crooks face off in the streets. It's a weird addition to the picture, and one that's completely undone by horrible acting. However, it's only a small part of the sequel, which is looking to offer more realism this time around, eventually reaching footage of public executions in Liberia to sell the intensity and organization of violence. "Faces of Death II" is a darker film than its predecessor, losing broad exploitation additions for something more direct in its display of ghoulishness. It's a stab at seriousness that helps the follow-up reach the potential of the brand name, but Schwartz doesn't know when to quit, extending the grisliness for too long, making the viewing experience its own form of punishment as the endeavor moves around numerous presentations of barbarity and murder.

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