4K Ultra HD Review – The Card Player (2004)

      The Card Player, 2004.

      Directed by Dario Argento.

      Featuring Stefania Rocca, Liam Cunningham, Silvio Muccino, Fiore Argento, Conchita Puglisi.

      SYNOPSIS:

      A policewoman from Rome collaborates with a British Interpol agent to track down a clever serial killer who engages the police in a game of cat-and-mouse by abducting and murdering young women, broadcasting the events via an internet webcam. It has often been stated that Dario Argento’s career after the 1980s has been, at best, a mixed bag, with 1987's Opera recognized as the last film that holds up alongside his classic works such as Tenebrae, Suspiria, and Deep Red. However, revisiting an artist's less appreciated films after some time can often reveal if we were overly critical or help identify elements that reflect their past brilliance. Thanks to Shameless Screen Entertainment, Argento’s 2004 film The Card Player is now available in 4K UHD, inviting a fresh evaluation.

      Officer Anna Marie (Stefania Rocca) is investigating a serial killer dubbed the Card Player, who targets women. The killer challenges the police to online poker games for the lives of his victims, brutally murdering them on a live webcam if the police fail. Following the abduction of a British woman, heavy-drinking Irish detective John Brennan (Liam Cunningham) is summoned to assist the Italian authorities. How many more women will fall prey to this criminal before Brennan and Anna Marie uncover the truth?

      On paper, The Card Player has a plot reminiscent of Argento’s style, and the director has never avoided incorporating contemporary issues into his films. Given the early days of the internet and the novelty of online gaming, it seemed fitting for him to create a giallo revolving around computers, the internet, and modern technology. The issue, however, is that Dario Argento has always been a visually-driven filmmaker, known for his suspenseful sequences and creative kills. Unfortunately, The Card Player lacks the distinctive flair and techniques seen in his earlier works, resulting in scenes where the confrontations between the killer and the poker-playing cop consist of several minutes of low-resolution computer graphics displaying the cards being played, alongside the reactions of those observing the computer screens.

      While watching a live poker game between a colleague and a killer would undoubtedly be tense, this intensity doesn't translate on screen, as someone merely clicking a mouse isn’t particularly chilling. By the time the climax arrives, it feels as if Argento and co-writer Franco Ferrini lost interest in maintaining suspense and hastily assembled an ending.

      The film is also unexpectedly low on blood and gore. There are moments that evoke memories of his earlier work, such as when a victim triggers a trap and gets impaled, and the corpse effects are commendable, leading to a clue reminiscent of The Silence of the Lambs that aids the investigators. When the narrative transitions into investigative mode, The Card Player gains momentum and becomes an effective police procedural. However, this is a Dario Argento film, and it lacks the experimental camera techniques or elaborate set pieces that would elevate it. Consequently, the overall aesthetic is less exaggerated than his usual style, presenting a more natural—almost colder—color palette and a sleek yet uninspiring feel in the cinematography.

      Nevertheless, experiencing an Argento film in 4K UHD is always a pleasure, and The Card Player benefits from this upgrade. The director's choice of natural color tones succeeds as the grain remains intact, and the detail levels are impressive, particularly in close-ups, with the excellent corpse props appearing more lifelike. The dubbing in the film was never exceptional, and although the new Dolby Audio mix enhances it slightly by balancing background effects, voices, and Claudio Simonetti’s electronic score, there are instances where the voices do not seem to match the visible actors. However, no adjustments at this point can perfect it. Like the visuals, the format upgrade improves upon previous versions, delivering a satisfactory outcome in that regard.

      Overall, The Card Player ultimately feels like a letdown within Argento’s body of work. While it is certainly not his worst film and is generally an enjoyable giallo, it seems too generic in contrast to his other movies and lacks the unique elements that Argento typically infused into his films to make them stand out or more engaging. The new 4K restoration is visually appealing and a worthy upgrade for Argento enthusiasts and collectors. The cast and crew interviews included on the disc provide additional context, but for someone new to Dario Argento seeking to understand his significance, The Card Player would not be the right introduction. In the realm of his post-1980s films, while it might not be as silly as Giallo or as tedious as The Stendhal Syndrome, it certainly does not match the engagement level of Dark Glasses or the macabre enjoyment of Mother of Tears