Horror Film Review: The Seventh Grave (dir by Garibaldi Serra Caracciolo)

Posted on October 9, 2023 by Lisa Marie Bowman

First released in 1965, The Seventh Grave is an Italian film, featuring an all-Italian cast and dialogue that is recited in Italian.

Despite this, however, the film itself takes place in Scotland and we’re told that all of the characters are all meant to be either Scottish or American. I imagine this was done with an eye towards eventually releasing the film in the States. Indeed, many Italian horror films were made to specifically appeal to American and British audiences. However, as far as I can tell from the information that’s available online, it doesn’t appear that The Seventh Grave ever made it over to the United States. It was apparently released in the UK and Canada.

As for what the film is about, it follows a group of people as they head to a gothic castle in Scotland. The castle was owned by Sir Reginald Thorne, who was apparently a scientist of some sort but who died of Leprosy and who, we’re told, was buried in the crypt’s seventh grave. Sir Reginald’s assistant also suffered from Leprosy and was imprisoned and sent to a Leper colony. However, as the film begins, we are informed that his assistant managed to escape a month ago and no one is quite sure where he is hiding out.

As for the people heading to the castle, they are all relatives and acquaintances of Sir Reginald’s. They’ve gone to the castle to hear the reading of his will but they’re informed that one of Sir Reginald’s relatives has yet to arrive and the will cannot be read until she does so. While they wait for her, someone mentions that the castle is rumored to be the hiding place of a treasure that was found by Sir Francis Drake. Since just about everyone in the film is super greedy, they all want to get their hands on that treasure. Since one member of the group is said to be a “powerful psychic,” they decide to hold a séance so that she can commune with Sir Francis Drake’s spirit. Needless to say, the séance doesn’t go particularly well and soon, people are turning up dead. Is the murderer a ghost or could be the Leper assistant or could it be one of the visitors to the castle?

(As a sidenote, allow me to just mention that Sir Francis Drake was one of my favorite of the British explorers. Queen Elizabeth I could have been very happy with him under different circumstances.)

The plot of the Seventh Grave is next to impossible to follow and, like a lot of gothic Italian castle films, it suffers from the fact that there’s really no one to root for. I mean, just about everyone in the movie is motivated by greed and, even when the murders start, no one really acts that upset about any of them. That said, the castle is an atmospheric location and the film is only 77 minutes long so at least it doesn’t drag. For the most part, though, it’s easy to see why The Seventh Grave is largely forgotten today.

Guilty Pleasure No.66: Cloverfield (dir Matt Reeves)

Posted on October 9, 2023 by Lisa Marie Bowman

Let’s just be honest, here. In many ways, 2008’s Cloverfield is a remarkably stupid film.

I mean, don’t get me wrong. It’s an entertaining film. It’s a fun film. It’s a film that I’ve seen a few times and I usually enjoy it whenever I see it. But it’s still a film about someone who refuses to stop filming, even in the middle of an alien invasion. It makes sense, of course, that Hud Platt (T.J. Miller) would want to film the going away party that’s being held for his friend Rob (Michael Stahl-David). But why would Hud keep holding onto that camcorder even after the aliens invade and New York starts to explode all around him? There are several moments in the film where it’s obvious that the camera is slowing Hud and his friends down. The easiest thing to do would be to drop the camcorder and run to safety. I mean, it’s not like the destruction of New York by aliens is going to be lost to history if Hud doesn’t film it. But instead, Hud not only keeps filming but, for all the shaky cam effects and the heaving breathing of people running for their lives, Hud still somehow manages to capture every important event on camera.

In many ways, the film epitomizes everything that tends to drive people crazy about the found footage genre but Cloverfield is an undeniably fun movie. I mean, there’s a scene where the head of the Statue of Liberty is literally tossed into the middle of the street. It’s such an over-the-top moment that it’s impossible not to love it and, to be honest, the fact that Hud manages to hold the camera still enough to perfectly capture the image of Lady Liberty’s head crashing to the ground is kind of cool. The film follows a group of friends as they try to make their way across New York City to try to rescue Rob’s girlfriend Beth (Odette Yustman) before then evacuating the city and there’s something rather exciting about the sight of this small group of people continually moving in the opposite direction of the crowd around them. While everyone else runs away from danger, our heroes move straight into it, even though none of them are exactly action heroes. They’re nerdy hipsters on a mission and, even though you know from the start that they’re all doomed, it’s hard not to kind of love them. The film’s final moments carry more an emotional punch than you might normally expect from a found footage alien invasion film.

That said, if the aliens do come and they are literally tearing apart the Statue of Liberty before your very eyes, there’s no shame in putting down the camera and running. In fact, if there’s any lesson to be learned from Cloverfield, it’s that sometimes, it’s best just to run for it.

Previous Guilty Pleasures

Horror Film Review: Troll (dir by John Carl Buechler)

Posted on October 9, 2023 by Lisa Marie Bowman

The 1986 film, Troll, opens with Harry Potter moving into a San Francisco townhouse.

Okay, it’s not that Harry Potter. Troll was produced long before the first Harry Potter book was even published so it’s fair to assume that it’s just a coincidence that this film — about trolls, magic, and faeries — just happens to feature not just one but two characters named Harry Potter. Harry Potter, Sr. (Michael Moriarty) is a typical, dorky father figure. Indeed, he’s such a conventional figure that it’s a bit hard to understand why the always neurotic Michael Moriarty was cast in the role. Harry’s son is named Harry Potter, Jr. (Noah Hathaway). Harry, Jr. is a teenager who is shocked by how bratty his little sister, Wendy (Jenny Beck), becomes after the family moves into their new apartment.

Why is Wendy acting like such a brat? It’s because Wendy has been kidnapped by Torok the Troll (Phil Fondacaro), a grotesque creature who not only abducts Wendy but also steals her appearance so that he can safely move around the world of the humans. Torok, himself, was once a powerful wizard but, centuries ago, he and an army of faeries tried to destroy all the humans in the world. Their plan didn’t work and, as punishment, Torok was turned into a troll.

But now, somehow, Torok is free and he’s taking over the apartment building. One by one, he tracks down each tenant and casts a spell which turns them into a mythological creature, like a gnome or a wood nymph. All of the apartments turns into lushly overgrown forests. Among those tenants that get transformed are Sonny Bono and a young Julia Louis-Dreyfus. I have a feeling that, when Sonny later ran for Congress, he did not include his appearance in Troll in any of his campaign literature. As for Louis-Dreyfus, she was reportedly angered once when a talk show host (I think it was Jay Leno) showed footage from this film while interviewing her. It’s not so much that Julia Louis-Dreyfus isn’t a convincing wood nymph as much as it’s the fact that she’s Julie Louis-Dreyfus and it’s just difficult to imagine her appearing in such a stupid role. This, of course, was her first film and everyone has to start somewhere.

Anyway, realizing that he has to rescue his little sister, Harry Potter, Jr. gets some help from the local witch, Eunice St. Clair (Joan Lockhart). Eunice gives Harry a magic spear to take with him in his quest. It’s not really that much of quest, however. Troll is a low-budget film that was produced by Albert Band so this is not the film to watch if you’re expecting some sort of elaborate fantasy epic.

One positive thing that I will say for Troll is that some of the troll makeup is effective. The plot maks absolutely zero sense but Director John Carl Buechler specialized in creating memorable monsters on a budget and he manages to do that with Troll. And, despite all of the people getting turned into monsters, Troll is a largely good-natured film. It’s not a deliberately cruel or even gory film. It’s a dumb little horror/fantasy film that features Sonny Bono turning into a plant and Julie Louis-Dreyfus turning into a wood nymph. It’s dumb but it’s mild and generally inoffensive.

Finally, I should also note that it is in no way connected to Troll 2. Troll 2, after all, is about goblins.

Horror Film Review: The Mummy’s Hand (dir by Christy Cabanne)

Posted on October 9, 2023 by Lisa Marie Bowman

In 1940, having brought back The Invisible Man and Frankenstein’s Monster, Universal Pictures decided that it was also a good time to bring back The Mummy!

The Mummy’s Hand takes place in what we’re told is Egypt, though it’s obvious just a Universal backlot. Two archeologists — Steve Banning (Dick Foran) and Babe Jenson (Wallace Ford) — are penniless and stuck in Egypt. Babe wants to find a way to return to Brooklyn and his ex-girlfriend. Steve is a bit more serious about archeology, though it must be said that he’s no Indiana Jones when it comes to discovering relics and taking them to museums. If Indiana is the type who will risk his life to search a hidden cave in the Amazon Rain Forest, Steve is far more likely to just wander around an Egyptian market until he comes across someone selling an ancient vase.

Which is exactly what happens! Steve finds someone selling a vase and, after he learns where it came from, he buys the vase. He takes the vase to Prof. Andoheb (George Zucco), not knowing that Andoheb is an Egyptian high priest who has been sworn to protect the tomb of Princess Ananka. When Andoheb realizes that the vase could lead to the discovery of the tomb, he lies and claims that it’s a forgery. He then “accidentally” breaks it in order to keep Steve from showing the vase to anyone else. Steve, however, is not deterred and a chance meeting with an American magician named Tim Sullivan (Cecil Kellaway) leads to Sullivan agreeing to finance Steve’s expedition to discover where the vase came from. Sullivan’s daughter, Marta (Peggy Moran), worries that Steve and Babe are just trying to steal her father’s money so she insists on coming on the expedition with Steve. Also following the expedition is Andoheb, who is himself starting to fall for Marta and who is hoping that he can use a secret serum hidden in the tomb to make both himself and Marta immortal.

Of course, the tomb itself is protected by Kharis (Tom Tyler, under a ton of bandages), a mummy who is immortal due to the serum and who has sworn to protect the tomb from any outsiders. Kharis moves slowly but efficiently. He’s a ruthless and silent killer, one whose eyes appears to just be two black holes, the better to reflect his own lack of a soul.

The main problem with The Mummy’s Hand is that it takes forever for the Mummy to actually show up. This is only a 67-minute film and the Mummy mayhem doesn’t really start until around the 50 minute mark. As a result, the viewer spends a lot of time watching Steve and Babe wander around Egypt and essentially act like stereotypical American tourists. Even when the expedition finally gets started, the audience still has to sit through endless scenes of Marta accusing Steve of being some sort of con artist. This is a movie that will truly leave you saying, “When is the mummy going to show up!?”

That said, The Mummy itself is a frightening creature, especially with his empty eyes. Mummy’s are naturally frightening, especially when they’re walking towards you and dragging their decaying bandages behind them. The Mummy is effective, I just wish he had been featured in more of the movie.

Previous Universal Horror Reviews:

Horror On The Lens: The Mad Monster (dir by Sam Newfield)

Posted on October 9, 2023 by Lisa Marie Bowman

In the 1942 film, The Mad Monster, the great George Zucco plays Dr. Cameron. Dr. Cameron is a mad scientist who has a few issues with his colleagues and who makes the decision to deal with those issues by transforming his simple-minded handyman (Glenn Strange, who played Frankenstein’s Monster in a number of Universal films) into a wolfman.

The Mad Monster is one of the many horror films that were produced by Producers Releasing Corporation, which was one of the most poverty-stricken of the poverty row production companies. To me, the interesting thing about the film is that Cameron initially wants to use his werewolf formula to help in the war effort. He wants to help the United States win the war by turning soldiers into wolfmen. It’s only after his plans are dismissed as being ludicrous that he starts using his wolfman to get revenge. Unfortunately, the wolfman itself turns more savage and bloodthirsty with each act of revenge so I guess it’s a good thing that it wasn’t deployed on the battlefield because who knows what type of state the soldiers would have been in when they finally came home.

Here is 1942’s The Mad Monster!

October Positivity: The Touch (dir by Jimmy Huckaby)

Posted on October 8, 2023 by Lisa Marie Bowman

The 2005 film, The Touch, opens with Hannah (Kristia Knowles) being booked into jail. Hannah is being charged with drug possession and assaulting a police officer. She’s innocent on both charges. Her boyfriend was the one who left the drugs in her car. And, though she did hit a police officer, it was an accident. But it doesn’t matter. Hannah has been arrested and because she has no one in her life that has either the resources or the compassion to bail her out, she’s going to have to spend a while in jail. The opening sequence is effective, both because of Kristia Knowles’s emotional performance and because it captures the dehumanizing process of being booked. For Hannah, this is the worst moment of her life. For the police officers who are taking her jewelry and barking orders at her, it’s juts another night.

Hannah’s sleaze of a boyfriend does finally bail her out of jail but Hannah wants nothing to do with him. Instead, she tries to find a legitimate job but she soon discovers that no one is willing to hire someone with a criminal record. The only way she can get hired is to lie about her past and, even in that case, her employer eventually does a background check on her and is forced to let her go. When her car breaks down, a greasy mechanic says it’ll cost $900 to fix. Of course, he suggests, there are other ways she could pay him…. Feeling totally alone and hopeless, Hannah uses the money that she has left to rent a room in a cheap motel. She takes several pills and downs a bottle of liquor.

Her attempt at suicide doesn’t work but it does land her a spot in the local church shelter. With the help of the other women at the shelter and Wanda (Shauna Bartel), the director of the program, Hannah starts to take control of her life and deal with the horrible traumas of her past. However, the shelter is not inexpensive to run and many members of the church feel that the money could be better invested elsewhere, like in refurbishing the main building. They also feel that women like Hannah are bringing a bad reputation to their congregation. While Wanda and the Pastor (Bruce Borgan) try to keep the program from being shut down, Hannah fights the temptation to return to her old life.

To my surprise, I actually really liked The Touch. Yes, it’s a very earnest and low-budget film and there are a few moments where things get a little bit heavy-handed. But there are so many strong and honest moments that it’s easy to forgive the film’s flaws. Kristia Knowles and Shauna Bartel both give strong performances and, in the end, the film’s message is a worthy one. Far too often, society refuses to give a second chance to people who have had legal difficulties and, as a result, too many people come out of prison with no prospects and no support. As a result people, like Hannah, are often left feeling as if they have no other option than to either give up or to return to the same behavior that got them in trouble in the first place. Society has gotten so focused on punishment that they’ve overlooked the importance of rehabilitation. Sometimes, a second chance is the most important thing that you give someone.

The TSL Horror Grindhouse: Dr. Black, Mr. Hyde (dir by William Crain)

Posted on October 8, 2023 by Lisa Marie Bowman

1976’s Dr. Black, My Hyde tells the story of Dr. Henry Pride (Bernie Casey).

Dr. Pride is a respected doctor, the head of a free clinic in the Watts district of Los Angeles. He has a big house. He has a fancy car. With Dr. Billie Worth (Rosalind Cash), he is researching a serum that will help people with cirrhosis to regenerate the tissue of their liver. Of course, Dr. Pride wasn’t always rich. In his own words, he and his mother grew up in the guest house of a brothel. But now that he is rich and successful, some people claim that he’s lost touch with his community. As a prostitute named Linda (Marie O’Henry) tells him, “You talk white, you think white, you probably drive a white car.”

In a scene that is designed to bring to mind the horrors of the Tuskegee syphilis experiments, Dr. Pride considers the ethics of injecting his serum into his patients without warning them that there might be consequences. Billie warns him that what he’s thinking about doing would be not only unethical but illegal. Dr. Pride questions whether ethics matter when dealing with something that could potentially save lives in the future. After Dr. Pride injects an elderly black woman with the serum, she turns into a white-skinned monster who attempts to strangle a nurse before promptly dying. Despite this, Dr. Pride continues to develop the serum and eventually, he tries it on himself.

Under the effects of the serum, Dr. Pride becomes a white-skinned madman. (Bernie Casey wears a white makeup whenever he plays this film’s version of Mr. Hyde.) Under the influence of the serum, Pride rampages through Watts, killing prostitutes and pimps before transforming back into the Dr. Pride. The police are investigating the murders but they’re searching for a white man. Meanwhile, Dr. Pride continues to obsess on trying to work out the kinks of her serum. He wants Linda to be his latest test subject.

Dr. Black, Mr. Hyde is a blaxploitation take on Dr. Jekyll and Mr. Hyde and, as with many blaxploitation films, the subtext is frequently more interesting than what actually happens on screen. Dr. Pride, after continually being accused of acting white, takes his serum and soon literally becomes white and sets out to kill the prostitutes and the pimps who remind him of his life before he became a doctor. And while it’s easy to see this as an example of the serum turning a good man into an evil monster (the classic Jekyll and Hyde formula), it’s also true that, even before his transformation, Dr. Pride views his patients as being potential test subjects. For all of his talk about helping people, Dr. Pride maintains his distance from the members of his own community. Is the serum turning Dr. Pride into a monster or is it just revealing who Dr. Pride truly wishes to be? Given the film was directed by William Crain, who also did Blacula and who, unlike a lot of Blaxploitation directors, actually was black, it’s easy to believe that the subtext was intentional.

Of course, subtext aside, Dr. Black, Mr. Hyde is a cheap-looking and haphazardly edited film. Much of the acting is amateurish but Bernie Casey gives a strong performance as both the repressed black doctor and his violent, white alter ego. Cheapness aside, Dr. Black, Mr. Hyde is a frequently intriguing film.

The McPherson Tape (1989, directed by Dean Alioto)

Posted on October 8, 2023 by Jedadiah Leland

A found footage film, The McPherson Tape (which is also known as UFO Abduction) opens with a title crawl that tells the viewer that what they are about to see is both and also the most compelling evidence to date that aliens are visiting Earth.

On October 8th, the Van Heese family gathers to celebrate the fifth birthday of Michelle. Michael, the youngest of the Van Heese brothers, is home from college and he’s brought his new video camera with him, which he uses to film the party. At first, his brothers give him a hard time about both his new beard and his camera but soon, everyone has bigger things to worry about. When the power suddenly goes out, Michael and his brothers go outside to investigate. While doing so, they stumble across what appears to be a spaceship and three humanoid aliens standing outside of it. The brothers run back to the house and, eventually, the aliens follow.

The McPherson Tape was one of the first found footage films and it stays true to the rules of the genre to an extent that more recent examples have not. That means that the 66-minute film plays out in real time. There’s no background music. The sound quality is poor. The footage is grainy and sometimes out of focus. This is one found footage film that actually looks like found footage, with the only thing giving the game away being the rubber alien masks worn by the actors playing the invaders. Just as in real life, it’s not always exciting. There are moments of dead space where both the audience and the McPhersons are waiting to see what happens next. But because the film feels authentic and it features a cast of unknowns who do a good job of acting scared and confused, it’s much more effective than some of the slicker examples of the genre that have come out in recent years.

Director Dean Alioto later remade The McPherson Tape with a bigger budget professional actors. In 1998, the remake aired on the UPN under the title Alien Abduction: Incident In Lake County and supposedly caused a panic when some viewers though it was an actual documentary. For my money, though, the original is still the best.

Retro Television Reviews: Five Desperate Women (dir by Ted Post)

Posted on October 8, 2023 by Lisa Marie Bowman

Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past! On Sundays, I will be reviewing the made-for-television movies that used to be a primetime mainstay. Today’s film is 1971’s Five Desperate Women! It can be viewed on YouTube!

Five women, who all went to college together, reunite for the first time in five years. They’re planning on spending a weekend at a cabin on a private island. Lucy (Anjanette Comer) is the alcoholic who talks too much. Dorian (Joan Hackett) is the pill popper who lies about having a handsome husband and two beautiful children. Joy (Denise Nicholas) is the former activist turned trashy model. Gloria (Stefanie Powers) is bitchy and self-centered. And Mary Grace (Julie Sommars) is the one with the mentally ill mother who refuses to speak to her. Upon reuniting on the dock, the five women all immediately gather in a circle sing an old sorority song. It’s going to be one of those weekends!

The private island is lovely and the women believe that they have it to themselves, with the exception of the two men who are also on the island. Wylie (Robert Conrad) is the caretaker and he seems to be a trustworthy gentleman and exactly the type of guy who you would want to be stranded on an island with. And then there’s Meeker (Bradford Dillman), who drove the boat to the island and who is the type of overbearing jerk who has to be specifically told not to bother the women. While the women stay in the main house, the men stay in the nearby caretaker’s cottage.

From the start, it proves to be a stressful weekend. All of the women have secrets and long-buried resentments that come out at the slightest provocation. Not helping the fact is that there’s a murderer on the island, one that goes from killing a dog to strangling Dorian while the rest of the women are at the beach. The woman, figuring that the murderer has to be either Meeker or Wylie, lock themselves into their house for the night but it turns out that it’s going to take more than a locked door to defeat a killer.

Five Desperate Women has an intriguing premise but it also has an extremely short running time. With only 70 minutes to tell its story and 7 major characters to deal with, the film doesn’t leave much room for character development and, as a result, each woman is only given one personality trait and each actress ends up portraying that trait as broadly as possible. As a result, it doesn’t take long for the movie to go from being Five Desperate Women to Five Annoying Women. As for Robert Conrad and Bradford Dillman, the two of them give effective performances but anyone with a hint of genre savvy will be able to guess who the killer is going to turn out to be. There is one unintentionally funny moment where the desperate women attempt to fight off the killer by throwing rocks at him and none of the rocks come close to reaching their target but otherwise, Five Desperate Women is not particularly memorable.

October True Crime: Confessions of a Serial Killer (dir by Mark Blair)

Posted on October 8, 2023 by Lisa Marie Bowman

The 1985 film, Confessions of a Serial Killer, is based on the confessions of Henry Lee Lucas. Lucas was a one-eyed Michigan-born drifter who was arrested for murder in Texas in 1983. Once in custody, Lucas started confessing to murder after murder. At one point, it was estimated that Lucas had claimed to have killed around 600 people, sometimes by himself and other times with the help of his friend and sometimes lover, Ottis Toole. (Lucas “married” Toole’s 12 year-old niece, Becky, and then later chopped her up in a field.)

Of course, eventually, someone actually looked at Lucas’s confessions and came to realize that they didn’t really add up. Lucas had confessed to so many murders that, in order to believe him, you would have to be willing to accept that he could commit a murder in Florida in the afternoon and then somehow commit a second murder in upstate New York that night. (And that’s not even getting into the fact that Lucas confessed to killing Jimmy Hoffa and claimed that the CIA sent him to Cuba to take out Fidel Castro.) In the end, it was determined that Lucas was simply telling the police what they wanted to hear and that, sometimes deliberately and sometimes accidentally, the police were feeding him information about unsolved crimes in order to make his confessions more credible. Today, it’s generally agreed that Lucas may have killed 11 people. It’s also possible that he only killed two. (On the other hand, Ottis Toole really was the degenerate serial killer that Lucas claimed her was.)

Still, the national coverage of Lucas’s confessions inspired two independent films that were made in the mid-80s. One of those two films (and the better known of the two) was John McNaughton’s Henry: Portrait of a Serial Killer, in which Lucas was played by Michael Rooker and most of the action took place in Chicago. The other film was Confessions of a Serial Killer, which was filmed in Texas.

In Confessions of a Serial Killer, Henry Lee Lucas is re-imagined as Daniel Ray Hawkins (Robert A. Burns), a polite and mild-mannered redneck whose short stature, glasses, and somewhat quizzical expression all hide the fact that he is actually a vicious serial killer. Having recently been arrested, Hawkins nonchalantly confesses his crimes to Sheriff Will Gaines (Berkeley Garrett). Hawkins obviously enjoys telling his stories and he also appreciates that, whenever he and the sheriff go out to a crime scene together, he gets a hamburger and a chocolate milkshake. (“If these policemen weren’t here,” Hawkins tells one waitress, “you’d be mine.”) Hawkins talks about his childhood, growing up as the son of the town prostitute and a shellshocked father. He claims that his first victim was a sex worker in Scranton. Though flashbacks, we see Hawkins’s friendship with the moronic and equally bloodthirsty Moon Lewton (Dennis Hill). Hawkins eventually marries Moon’s sister, Molly (Sidney Brammer), who turns out to be just as sociopathic as her brother and her new husband.

Though it never escapes from Henry’s shadow, Confessions of a Serial Killer is an effective and disquieting film. The low budget works to the film’s advantage, especially in the scenes in which Hawkins wanders across the Texas countryside. Watching these grainy, documentary-style scenes, the viewer can literally feel the humidity and see the bugs buzzing around the tall grass. Though the cast is made up of unknowns, they all bring an authenticity to their roles. Anyone who has ever spent any time in small town Texas will automatically recognize the stoic but fair-minded sheriff played by Berkeley Garrett and the humble and religious doctor played by Ollie Handley. That said, the film is dominated by Robert A. Burns and his effectively low-key performance as Daniel Ray Hawkins. Burns himself was a set designer who got his start designing the house of horrors from The Texas Chainsaw Massacre. Burns plays Hawkins as being someone who has figured out how to come across as harmless but who also can’t help but seem off-center. His flat delivery of Hawkins’s lines captures the fact that, on the inside, Hawkins is empty. Even when he kills someone to whom he was close, he can only blandly say, “I was sorry about that.” True feelings are unknown to him.

Confessions of a Serial Killer is a film that stick with you. It’s a film that reminds you that you never know who might be watching you. Is that polite man just looking to be helpful or is he another Daniel Ray Hawkins?