The first few minutes of Nocturnal Emissions project some very stylish imagery that leads one to first think of the Italian giallo, or more so to the work of Dario Argento. The use of heavy blues and reds in many scenes create that same mood one would be able to experience in many Argento films, primarily SUSPIRIA. Also, the quick infusion of several images to project a certain flow of the story’s transitions. Helping those elements along is the movie’s score, again very much like a score often found in many gialli. Wide in range and variety, though in the killing scenes the score becomes violent. Hard rock fills help paint the violence that is splattered on the screen, although not overly violent. Again, that method is very similar to that of many Argento films, like TENEBRE and TRAUMA. The most obvious element given is the attire of the killer himself, the black gloves, the long black trench coat and the oversized fedora. His face covered with black stocking. Though steep in these influences, there is still the hint of the classic American thriller.

 

The acting involved in Nocturnal Emissions is very good as well. Especially the very strong performances put in by the two many actors Alexandra Paulhiac and Joe Zaso. Together they generate a great vibe, and both dig deep into their respective characters. Though the highlight would have to be Joe Zaso’s portrayal of Philip. Right after Silvia’s guard is down, especially after a night of hot passionate sex, the evil poetic slurs Joe performs give the viewer a feel for just how chilly Philip is underneath.

 

Now our second story METHODS TO THE MADNESS is directed by Joe Zaso and is more of a psychological tale. We follow aspiring actress Rose Marie who is down and out in the middle of New York. Two years of searching for acting work and not really having any success. She decides with a little help from her friend on taking a method acting class. Little does she know that upon signing up for Claude DeCarlo’s school, there would be an unorthodox situation ahead. Driving to have his students to pouring their complete souls into acting. Little by little, day by day, Rose Marie’s dark secretive past seeps through her own act. Driven hard and to the point of exhaustion, she breaks down only to make way for her inner self, Monica.

 

Being an actor seems to give Joe Zaso an edge with his directing skills behind the camera of this slick thriller. Seemingly lighthearted at first, the story reflects a knife slowly slicing it’s way through the skin. The transition into a very dark and disturbing piece by the end. Strong performances by lead female Sasha Graham (Rose Marie/Monica) and Joseph Marzano (Claude DeCarlo) give METHOD TO THE MADNESS a deep psychological edge. Both are very disturbing in very different ways, they cross paths and create a destructive backbone to this often very intense film. Outlined with a very distorted score, which only adds to the already creepy ambience. All of which is package up with Zaso’s keen eyes for details. Again, capturing each character’s facial and body language which is often overlooked. This is best displayed with Sasha Graham’s tremendous performance of Rose Marie’s transition to her alter ego of the diabolical Monica.

3 BITCH SLAPS