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Anamorph [Import]

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Most Helpful Customer Reviews on (beta) 20 reviews
8 of 10 people found the following review helpful
A great movie, gutted halfway through July 20 2009
By Amazon Customer - Published on
Format: DVD
Do you remember Seven, that awesome thriller with Pitt and Freeman and Spacey? Do you remember just how wrong the murder scenes were? Get ready to feel that sensation again with Anamorph, the movie that really, truly could have been.

Dafoe plays Detective Stan Aubray, a burnt-out, alcoholic, OCD forensic psychologist, on the trail of a killer that poses his victims in mind bogglingly complex poses.

The acting and storytelling of this is top notch. The feel thats recreated with alarming clarity is Seven, right down to the energetic, cocky and somewhat arrogant new guy paired with the grizzled, embittered veteran. The partner, however, is quickly dealt off, and the plot begins to nose dive after an hour. Dafoes character begins to ignore police protocol, common sense and eventually any sense of morals by the end of the film. Actions begin to become hollow and drawn out, without any apparent sense or purpose. Side plots, including a reporter with apparent romantic tension and Dafoes partner investigating Dafoes character as a copycat killer are chewed up and choked fatally on, dying after one or two hesitant breaths

The only assumption that I can come up with is that the initial writer either died or walked away halfway through, as a competent director, no matter how fervent, could've have botched a movie so badly and still had so many fantastic scenes. The best I can recommend is to rent this truly tragically still-born gem and watch to just after the third murder, then imagine a climax and ending, as nothing you can come up with could compare to the sheer awfulness of the hackneyed cop-out that was made, which resembles a freight train attempting to toot out the tune to the end of 2001 crashing into a brickwall.
1 of 1 people found the following review helpful
Guilty of Multiple Murders: Of Entertainment And Of Logic Sept. 24 2010
By K. Harris - Published on
Format: DVD
Oh, Blessed Serial Killers! Where would the world of entertainment be without them? In 1995, David Fincher made "Seven." By no means was "Seven" the first or even the best serial killer film ever made, but it has set the standard for the modern wave of imitators. With its bleak visual style and delicately staged murder tableaus, it reinforced the notion of the serial killer as a artistic genius. I mention "Seven" explicitly because its influence can be felt in every frame of the unfortunate "Anamorph." In fact, the only thing that "Anamorph" really has going for it is an interesting visual perspective--but in no way is that enough to sustain the length of this exercise in tedium.

Hoping to uncover a gem, or at least a solid entertainment, I eagerly sat down to "Anamorph." Willem Dafoe is a dynamic actor, Scott Speedman is just hitting his stride, and Clea Duvall is dependably solid. What could go wrong? Even if the film wasn't a masterpiece, surely it would be a bit of dirty fun. I couldn't have been further from the mark--this film was so glacially paced on top of being so ridiculously plotted that I literally counted the minutes until the end. The killer in "Anamorph" sets up murder scenes so intricate, so precise, so over the top. I just wished he'd have channeled his unequalled brilliance into something more productive than grisly murders. Even in a time crunch, he was reliably on target even with the smallest detail. At one point, with Dafoe hot on his trail, the killer had time to execute a full back tattoo on one of his victims that was so complex and specific that a team of artists couldn't have pulled it off in a studio. Another murder scene was reliant on about 100 pieces of his victim being hung from the air so that if you looked from one spot, a horrible vision was put together. Forget artistic merit (I mean wow!), this dude probably had to study engineering and physics (invisibility and time travel probably wouldn't have hurt either since he'd need days or weeks to complete this intricate puzzle without being discovered).

But points of believability are of little consequence in the long run. I can go with the flow in these sorts of film as long as there is some entertainment value. "Anamorph" commits the deadliest of sins--it is startlingly dull as well. Dafoe is all over the place, Duvall is incredibly unconvincing. The case makes little sense in the real world and the momentum is lacking. Perhaps the director channeled all his energy into create the visual style and fashioned that he was making an art film. If so, and if that's the only thing to admire, I still say "Seven" has already been there--so what's the point? KGHarris 9/10.
Intriguing, though it doesn't live up to its potential. Jan. 14 2011
By Robert Beveridge - Published on
Format: DVD
Anamorph (Henry Miller, 2007)

The first review I saw after watching this movie started out with the sentence "this movie could have been so much better than it actually was." And I agreed with it, but then I started thinking: how many movies can you not say that about? I've seen thousands over the course of my life, and I can think of--maybe--half a dozen that would qualify. That said, I do totally get where that reviewer was coming from. This is a movie that had almost limitless potential, but got sidetracked by a few bad decisions along the way.

Plot: a serial killer is at work in the big city. Stan Aubray (The Boondock Saints' Willem Dafoe), who retired after the city's last big serial killer case, Uncle Eddie, is called in by his old boss (The Box's James Rebhorn, a fine actor we don't see on the screen nearly enough these days) thanks to some startling similarities to the Uncle Eddie slayings five years earlier. He finds himself teamed with impulsive go-getter Carl Uffner (The Strangers' Scott Speedman), who has a tendency to jump to conclusions, though he is about to get promoted to the same Detective First Class role Aubray has. (That Aubray also jumps to conclusions, and got his promotion by doing so, is understood.) The media and the police believe this new guy is a copycat killer, but the longer Aubray works the case, the more convinced he is that five years ago, they got the wrong man. And now Uncle Eddie is after Stan Aubray...

I've only begun to talk about the amazing cast that populates this film. Peter Stormare plays a shady art expert who helps Aubray with his investigation (as well as helps him acquire cut-rate antique furniture). Clea DuVall (Identity), who never became the household name she should have, is the best friend of Uncle Eddie's final murder victim, who has become friends with Aubray (they both want something more, but are far too damaged to ever act on it), while Debbie Harry (Videodrome) plays his downstairs neighbor, who may also have designs on him.

On the other hand, there's Scott Speedman, and the more I see Scott Speedman, the more I think he's the go-to guy for casting agents when the director says "get me Ryan Reynolds" and Mr. Reynolds is not available. Not that Ryan Reynolds is any great shakes as an actor (the both of them are blown away by the similarly-profiled Joshua Jackson), but he's head and shoulders over Speedman. That was the bad casting decision. Flipping things around, I'm not sure Miller, who also wrote the screenplay, was the right choice for a director here. I haven't seen any of his other stuff, so can't comment as to thematics vis-a-vis his directorial style, but I got the feeling that another director could have done this complex script more justice than Miller did. David Fincher, maybe? And no, I didn't pull that name out of my hat; Anamorph is a movie that wears its love for Se7en firmly on its sleeve. I don't necessarily see that as a bad thing, given that Se7en is one of the greatest not-so-buddy-cop movies ever made, but there are bits and pieces where this movie looked as if it had been assembled from cutting-room floor bits of Se7en with added footage. There's a line between homage and rip-off, as we are constantly told. It's not all that fine a line, in most cases. To keep one foot on either side of it requires either amazing dexterity or amazing incompetence. As with Brian DePalma's Blowout, I could never quite tell whether Miller was keeping his balance.

All that said, I think the reception this film got blows goat. It played on one screen, for three weeks, and one of those weekends grossed $239, according to IMDB. This is a far, far better movie than those numbers would indicate. Whether it's overly complex or simply sloppy is subject to debate (I think the former), but the fact that people will debate it on the Internet for months is a solid indicator that whether people liked the film or not, they were still thinking about it. ***
6 of 9 people found the following review helpful
Not Artful Enough Jan. 16 2009
By R. Schultz - Published on
Format: DVD
There's another fantastic serial killer at work here, posing his victims in fabulously mutilated displays. This movie follows in the footsteps of TV's CSI series in that it shows how an increasingly jaded audience pressures media-makers to come up with ever more grisly, bizarre crimes and images to hold people's interest. Being a movie rather than a TV episode though, "Anamorph" has the luxury of taking more time to anticipate and dwell on the gore.

Actually, the movie takes altogether too much time. It consists of long pauses - taciturn, stony exchanges - and empty, unexplained affect between scenes. There's an insufficiency of script here. It's all too wildly implausible - and motives and moods hang in the air, as incompletely explained or connected as the killings themselves. And unlike in CSI episodes, almost no scientific detecting takes place here. Willem DaFoe's detective character and his partners don't even seem to follow through and find out who rented an apartment where one victim is hung in a particularly elaborate way. So a viewer can't justify the time spent viewing this film with any forensic insights gained.

However, if you are interested in art history, you might find some value in this film. It jogs to the fore certain controversies ongoing in the art world. For example, the killer uses the principle of the "camera obscura" when he walls a victim up in a hidden room and projects a striking, enlarged image of the suspended victim through a pinpoint hole in the wall. David Hockney, a noted artist himself, wrote a controversial book recently entitled "Secret Knowledge" in which he claims that many Old Masters might have achieved their realistic effects by simply projecting scenes onto their easels with a camera obscura - and then tracing those images. Some scientists have refuted Hockney, saying a camera obscura could not possibly focus images sharply enough to allow a painter to simply trace rather than draw the details of the resulting projections. You can look at the results the killer in this film achieves and consider the question for yourself.

Then there is the movie's title. An anamorphosis is a picture that appears distorted when viewed from one angle, but that can be resolved into one or more discernible images when viewed from different angles. A detail of Hans Holbein's painting "The Ambassadors" is shown to illustrate the principle. A strange smear at the bottom of Holbein's otherwise benign-looking representation can be slanted and foreshortened to reveal - a chilling image of a human skull.

So "Anamorph" does provide some slight exposure to mysteries inherent in a few famous paintings and can serve as a lead-in to some on-going debates over technique in the art world. As a whole though, this movie remains an unresolved, inexplicable distortion of reality from whatever angle you view it.
Interesting movie Jan. 3 2013
By Tennessee Taz - Published on
Format: DVD Verified Purchase
I've always liked Willem Dafoe but not so much in this movie. I don't know, he seemed rather...wooden at times. Maybe I just didn't like seeing him with that black hair and that pale face.

The murders committed in Anamorph were like nothing I'd ever seen and I was fascinated by the effort the killer put forth to create "art". I did wonder how the killer could have taken the time to set up certain scenes in the amount of time he appeared to have. It's the tattoo scene I'm thinking of here as I know tattoos can take a little time to do. Well, he (killer) did a rather large tattoo in a rather short amount of time, or so it seemed, but maybe I'm just being too picky.

All in all I did like Anamorph. Would like to have seen a different ending but was somewhat expecting it.