Rating summary

Movie		3.5
Video		4.5
Audio		4.0
Extras		5.0
Overall		4.5

Snapshot Blu-ray Movie Review

Reviewed by Brian Orndorf August 25, 2017

In the legacy of Ozploitation, it’s difficult to understand what “Snapshot” represents to the cinematic tradition. Coming from the makers of “Patrick,” which went far to establish the popularity of Australian chillers, “Snapshot” doesn’t register with the same level of creepiness, emerging as more of a character drama than something intending to rile up audiences. It’s an unusually reserved effort which trusts in the possibilities of patience, never really pursuing a defined plot until most of the movie is already over. Director Simon Wincer and screenwriters Everett and Chris De Roche trust in quieter, conversational moments, and it gives the feature a different approach to unsettling behavior. It lacks most overt surprises, but the nightmare summoned here appears to be psychological in design, tracking the ruin of a young woman who only wanted quick cash and a little taste of independence.

Trying to make a living as a hairdresser, Angela (Sigrid Thornton) dreams of a better life, getting a sense of domestic liberation from her oppressive mother through Madeline (Chantal Contouri), a fashion model and a friend who encourages to Angela to quit her job and take a chance on employment with eccentric photographer Linsey (Hugh Keays-Byrne). Agreeing to model for a cologne ad, Angela is shocked to learn the gig requires toplessness and a romp in frigid waters. Working up the nerve to get in front of the camera, Angela is transformed by the opportunity, which brings her to the attention of ad men around the city, along with Madeline’s husband, Elmer (Robert Bruning). While she begins to feel the boost of fame, Angela remains on high alert, with her ex-boyfriend, Daryl (Vincent Gil), roaming the area in an ice cream truck, stalking his beloved, keeping her on edge as she experiences vocational and personal excitement.

Wincer is best known today as the helmer of friendlier fare such as “Phar Lap,” “Free Willy,” and the epic television miniseries, “Lonesome Dove.” “Snapshot” represents his feature-length debut, and to make a sizable impression, he’s in charge of a somewhat dark tale of maturation, following Angela as she attempts to establish herself in the real world, taking a chance on the power of nudity, guided by a photographer who’s a real nut job, spending his free time snapping pictures of dead animals. Angela isn’t alone in the big world, relying on her friendship with Madeline, who pushes the young woman into the modeling opportunity, which takes the hairdresser to the beach for a chilling romp in ice cold waters, and doing so with next to no clothes on. Wincer keeps up with genre demands for nudity and crazy behaviors to keep viewers on edge, and there’s an unusual threat from Daryl, who chooses perhaps the worst vehicle of all time, a pink ice cream truck, to stalk his ex-girlfriend. Obviously, Daryl isn’t a bright guy, and his inability to recognize his own obsessive ways adds the most overt tension to the tale, finding Angela understandably terrified that man who’s dedicating his life to the distribution of swirly cones is planning to kill her.

The screenplay doesn’t indulge big sweeps of suspense, playing it cool with Angela’s journey of individuality, taking time to understand her issues with her overbearing mother, who eventually disowns her, and her determined naiveté, which leads her into the presence of predators. “Snapshot” isn’t a walk in the park, but it’s almost refreshing to watch a movie about the creepy, repellent sexualization and domination of a female character where all anyone wants to do is see her bare breasts. Rape isn’t on the menu here, just torment, and it’s effective, but there’s just as much screentime devoted to Angela’s bad decisions, developing an ego as she basks in the glow of her modeling debut, and she takes a room in Linsey’s studio when she’s left homeless, soon treating the place as her own. Little character quirks and negatives are valuable here, keeping “Snapshot” psychologically complex, and not just another tale of an innocent served up for the slaughter.

Snapshot Blu-ray Movie, Video Quality 

The AVC encoded image (2.35:1 aspect ratio) presentation is listed as "Newly scanned and restored in 2k from the original 35mm camera negative. An opening card shares the information that this version of "Snapshot" is known as the "International Cut," with edits made directly to the negative, making hope for a pristine "Australian Cut" impossible (see below for an alternative viewing opportunity). The picture features some impressive widescreen lensing, with the Blu-ray handling the work with care, providing a bright, clear look at cinematographic achievements. Detail reaches as far as possible, supplying decent facial particulars and dimensional locations. Textures are valued on disco-esque costuming and sets, while horror imagery with dead mice and pigs remains vivid. Colors are strong, enjoying period hues with club encounters, remaining natural with clothing. Greenery is appealing, along with the blue waters of the beach shoot. Skintones are spot-on. Delineation registers as it should, preserving evening encounters. Source is in fine shape, with a few faint scratches and some debris.

Snapshot Blu-ray Movie, Audio Quality 

The 1.0 DTS-HD MA mix supports the moods of "Snapshot" with comfort and clarity. Dialogue exchanges are defined to satisfaction, handling accents and intensity, while also finding clarity in club environments. Scoring is equally forceful, handling suspense needs without steamrolling over the action, offering distinct instrumentation. Soundtrack selections are commanding, though disco performances lack some fullness, which may be an inherent issue. Atmospherics are present and favorable.

Snapshot Blu-ray Movie, Special Features and Extras 

• Commentary features director Simon Wincer, producer Antony Ginnane, actress Sigrid Thornton, and cinematographer Vincent Morton.

• Interview (27:56, HD) with Ginnane is a dry conversation about the creation of "Snapshot," with the producer going into great step-by-step detail when covering the material's origin. Created as the next step of genre participation from the makers of "Patrick," Ginnane shares how "Snapshot" went from an idea to a finished film in a matter of months, with hopes to cash in on their previous success and sell the movie around the world. Most interestingly, Ginnane explains how the American distributor changed the title to "The Day After Halloween" to boost marketplace visibility. Again, Ginnane isn't the most dynamic guy, and subtle editing helps him find his points faster, but there's still plenty to learn about "Snapshot" is this chat.

• "Australian Cut" (100:25, SD) is a longer version of "Snapshot," presented here from a rough video source.

• "Not Quite Hollywood" (36:30, SD) is a collection of excised interviews about "Snapshot" from the beloved Ozploitation documentary. Interviewees include Sigrid Thornton, Antony Ginnane, Lynda Stoner (the actress who initially dropped out of the lead role, and doesn't share friendly feelings for Ginnane), Simon Wincer, Everett DeRoche, Vincent Monton, and Tom Burstall.

• Behind the Scenes and Promotional Stills (4:04) are offered.

• Two T.V. Spots (:58, SD) are provided.

• And a Theatrical Trailer has not been included.

Snapshot Blu-ray Movie, Overall Score and Recommendation 

"Snapshot" goes to a few unexpected places, and not all of them hold attention, but Wincer hits more than he misses here. While it's not exactly random, there's a fluidity to the plot that takes some getting used to, with the production often unsure if it wants to frighten the audience or deliver a fairly accurate depiction of an indecisive, easily overwhelmed young woman. The conclusion settles on scares, finally achieving a sense of direction, but "Snapshot" ends up more intriguing in moments, offering a human nightmare of personal responsibility that's occasionally visited by monsters.