Scott LeBrun It's easy to imagine rabid horror fans being sorely disappointed with the Australian production "Snapshot", a.k.a. "The Day After Halloween". The advertising and the alternate title might lead people to think they're about to watch an Ozploitation slasher, but such is not the case. This is really more of a drama with mystery elements, as it follows a naive and immature young lady, Angela (Sigrid Thornton of the "Man from Snowy River" series), who works as a hairdresser. She's recruited by customer Madeline (Chantal Contouri) into the modelling business where she immediately has some success posing topless for an ad. The story, co- written by talented Everett De Roche ("Roadgames", "Razorback", "Patrick"), follows Angela as she meets a variety of characters, including sleazy Elmer (Robert Bruning). Angela soon becomes disturbed by strange occurrences in her life. For example, just who the hell was it that put that pigs' head in her bed? Could it be her dullard ex-boyfriend Daryl (Vincent Gil), who drives a Mr. Whippy ice cream truck? Angela certainly seems to think so.Admittedly, "Snapshot" (which is really the far more appropriate title for the film, as this does NOT have anything to do with the Halloween season) is not for those film fans who crave excitement and spectacle. It gets off to quite a good "start", which is bleak and atmospheric, and our curiosity is whetted: what kind of events led to the reveal here? From then on, things get fairly interesting and remain watchable as we watch Angela lose a little of that naivety. Never as exploitative as some people may want, it's slowly paced and talky but it does populate its tale with a number of entertaining characters and fine performances. Contouri, who went on to star for producer Antony I. Ginnane in the horror film "Thirst", is delightful as the worldly Madeline, and Thornton is convincing enough in the central role. Bruning plays a creep well, but what's going to make watching "Snapshot" irresistible for some of those in the audience is seeing two cast members from "Mad Max", Gil (who played the Nightrider), and Hugh Keays-Byrne (who played the Toecutter) in supporting roles. Keays-Byrne, playing the photographer Linsey, is quite amusing in a real scene stealing performance. Stylish widescreen photography by Vincent Monton and wonderful music by the always reliable composer Brian May also add to the enjoyment. There's a well done fire gag towards the end of the film.Overall, this is good entertainment for those who want a twist laden and character driven tale.Six out of 10.

Wizard-8 I imagine that the Americans and Canadians who went to see this Australian movie in theaters in the 70s felt ripped off. For starters, it was retitled "The Day Before Halloween", yet it has NOTHING to do with the John Carpenter movie of 1978. The only similarity it has is with some of the piano music, which sort of sounds like Carpenter's score at times. But even if the movie had been released over here under its original name, viewers would have felt ripped off. For large chunks of the movie, absolutely NOTHING of consequence happens. All that you'll get out of the movie is that the modelling business can be a cold and cutthroat experience, something I think that any viewer would know already. The trivia section for this movie says that the script was written in ten days. It shows.

SanFernandoCurt Some movies seem to have evolved into finished product that's quite different from original script. This is one of them. I'll bet at one time, as writer's brainchild, this was a comedy-drama about a young woman trying to find her own place in the world, beset with oppressive upbringing and surrounded by shark-swarm of modern urban reality. As that, there are some scenes that sizzle, like the heroine's confrontation with her mother. Sigrid Thornton has long been a favorite of mine - a gutsy, resourceful actress who always manages to rise above or enhance her material. In that scene of familial combat (there are none more savage in our lives ), this feels like a completely different movie. ...A better one.I think sometime pre-production or even after filming began, "Halloween" was released to bang-up box office, and some brilliant producer or studio exec got a brainstorm to turn this into a splatter/horror thriller. The result is a schizoid mess, and the "Godfather" shock moment is practically unforgivable. Some fine actors, led by Thornton, are utterly wasted. A few nice bits of drama, and some drolly funny send-up of the self-obsessed fashion business, don't make this one worth the effort.

thomandybish This Aussie flick from the early 80s never found the audience it deserved. Marketed in the US to coat-tail on the success of the then-popular HALLOWEEN and other slasher flicks, SNAPSHOT(or THE NIGHT AFTER HALLOWEEN)is hardly in the same league. In fact, SNAPSHOT bears more of a resemblance to the sleazy, psycho-sexual exploitation flicks of guys like Harry Novak and Barry Mahon than John Carpenter and Wes Craven. The story, about a Melborne hairdresser who falls into the world of modeling with unexpected consequences, seems to parallel the set-up of many a grind house flick. Take a fresh young thing, put her in the unfamiliar environs of the big city, and watch while an assortment of predators, pimps, pervs, and pornographers have their way with her. What is almost never in question in those flicks is the innocence of the fresh young thing, or the corruption of those using her. SNAPSHOT takes that convention and twists it with no small amount of sadistic glee. The movie is rather slow-moving by today's standards, being essentially a grimy character study, but it leaves many tantalizing possibilities for the intelligent viewer. Nobody is what they seem, from the seemingly innocent Angela, to her weepy boyfriend Daryl, to Angela's too-cool-for-everything friend Madeline. Virtually everyone Angela encounters wants a piece of her sexually, commercially, psychologically. In fact, the only seemingly benign character she encounters, the kooky photographer Linsey, makes no demands on her whatsoever. He simply smooths out the sheets on a bed previously occupied by some transient acquaintance's and invites Angela to stay in his communal studio/crash pad, a domicile occupied by various helpers, hangers-on, and sex partners (it's interesting to note the mural on the brick facade prominently displays the title, "Paradise") The movie's packed to the gills with great characters, from the eccentric Linsey (who shoots dead animals in his spare time), to Madeline's pervy, film producer husband, to a bizarre nightclub performer who looks like a refugee from a community theater production of CABARET. The final scene has Angela acting on her initial wish to depart the country and start over, although one may feel that, given what has just happened prior, her reaction indicates a serious emotional disconnect. And given who is helping her, the outcome may be nothing like Angela anticipated.