A reboot of the controversial 1978 mockumentary Faces of Death, known for its graphic content and banned in several countries, is finally set to release in the UK. The original film, presented as a real documentary, featured a fictional pathologist, Francis B. Gröss, played by Michael Carr, who showed audiences footage of deaths. Some of these scenes were fake, while others used pre-existing video clips of real deaths and their aftermath. The film was infamous for its disturbing content and sparked significant controversy upon its release. The reboot, directed by Daniel Goldhaber, reimagines the original for a modern audience, bringing the story into the age of streaming and social media. The film follows Margot (Barbie Ferreira), a content moderator for a TikTok-like social media platform, who stumbles upon videos that appear to be recreations of murders from the original 1970s Faces of Death. As she investigates, she becomes entangled in a tense game of cat and mouse with Arthur Spevak (Dacre Montgomery), a phone salesman and amateur filmmaker who recreates the death scenes in an attempt to gain online fame. The film premiered at Beyond Fest Chicago in April and will be available to rent or buy on digital platforms starting Monday, September 7. It recently had its UK premiere at FrightFest in London, where it was screened alongside other horror films. The reboot has been well received by critics, currently holding a strong 69% rating on Rotten Tomatoes. The critics' consensus states that the film is a "fiercely transgressive, self-aware reimagining" that occasionally veers into conventional horror tropes but offers a sharp examination of the morbid fascination with violence. In their review, the Los Angeles Times highlighted how the most chilling aspect of the film isn’t the onscreen action but the desensitized, anonymous comments from viewers watching the horror unfold. Inverse noted that while the film isn’t entirely free from the clichés of the horror genre, it remains a "nastily impressive piece of work." The Wrap praised it as both a terrifying horror film and an intelligent commentary on society’s obsession with grim content. Vulture called it a "clever, nastily contemporary riff" on the original film’s themes.