Camerawork that covers all perspectives and sound editing that makes every footstep resonant. And with those remarks, it doesn't have to be a one day chronicle of the psychopath to be intriguing. But it is, and - through inner dialogue and occasional music - a viewer can dive deep into the pandemonium that was released by society, and left to wonder until it chops yet another piece. Cold, realistic and disturbing.
Spoiler alert*this is one dark, messed up film. I do appreciate the expressionistic use of camera angles and amplified diagetic and extradiagetic sounds (footsteps, dripping water, etc). These along with the claustrophobic close ups and personal narration gives the film a subjectively psychopathic atmosphere. What's creepy about this film is the paradoxical nature of his sanity: his sadism stems from childhood angst.
While better than most human slasher flicks, this movie tried my patience a little...The premise is simple, but the choice of using the killer as the narrator gives us a glimpse into the causes and conditions that made him into a maniac who just "HAS" to kill, however the real horror here, is the institutional failures (i.e. mental health professionals and the justice system) that enabled the man to develop into this
Raw and terrifying look into the fucked-up brain of a psychopathic killer. A voiceover of the killer talks to us as he terrorizes and kills. A complete mind-fuck. The camerawork is dizzying and hypnotic often spinning and at other times attached directly in front of the killer as he runs around, a strange steadicam look right into the face of madness. ...oh, and that damn wiener dog was complicit... just sayin'...
This is a beautiful use of camera work. I like how Angst travel through spaces into the screen - and how it uses real time to bring us a little closer to madness. The voice overs work really well - it gives us a intimate look into the memories of killer man. Really nerving - this slow motion murder story.
A killer's state of mind illustrated through parallel and an expressionistic setting. The lead actor gives so much to the roll, becoming almost goblin-like in the way he moves and acts. Beyond that, we're shown a man who kills to not only get back at his family, but to connect with them, and to purify himself of his perpetual angst, echoing the killer from Fritz Lang's 'M' so many years before it.
I love the opening scenes. Beautifully shot and the acting brings the character to such believable life. Up close-nearly first person shots put you in the character's shoes as though you are right there with him. This film features a deranged villain who is more than believable.
Entre "Funny Games" et "Henry : portrait d'un sérial-killer", une oeuvre balayée de folie et de mort, dont l'incroyable réalisation colle dramatiquement aux meurtriers et obsessionnels phantasmes du personnage principal interprété par un acteur étonnant. www.cinefiches.com
The film was well done considering it's non-fiction basis. Kargl maintained a true sense of horror with long shots that expounded on every gory detail. The movie's high angle shots and awkward close-ups that portray practicing psychopaths as creepy, conniving weasels rather than the sexy mysterious intellectuals Hollywood presents as of late. In these manners the cinematography proved appropriate and admirable.
An odd film about a sexual deviant that ends up going nowhere! Creepy! but that didn’t make it a horror film. Two of the three victims were so cartoonish it was difficult to take their murders seriously - the fate of the daughter was gruesome but lacked empathy. Everyone - the killer, his parents, stepfather, and his victims were twisted - even the cute dog was caught sniffing at the killer’s crotch after the rape.