October True Crime: Karla (dir by Joel Bender)


When it comes to true crime cases, few are as disturbing as the story of Paul Bernardo and Karla Homolka.

Paul and Karla were a young, married couple who lived in Ontario.  They were both attractive.  They were both popular.  They were both superficially charming, in the style of someone who you might have taken a class with but the only thing you can really remember about them is their smile.  And they were both killers.  Paul Bernardo, a wannabe rapper who had previously made his money by smuggling cigarettes and who was also a serial rapist, murdered at the least three teenage girls, including Karla’s sister, Tammy.  When Paul was arrested, Karla told prosecutors that she had helped Paul with his murders but only because he threatened and abused her.  Prosecutors, perhaps moved by a picture that Karla’s friend took of her bruised face after one of Paul’s beatings, made a deal with her for her testimony.  In return for testifying against Paul Bernardo, Karla was convicted only of manslaughter and given a 12-year prison sentence.  (She was 23 at the time and would only be 35 when released from prison, assuming that she served the full sentence.)  However, during the trial, video tapes of the murders were uncovered and showed that Karla had been a far more active participant in the murders than she had originally admitted.  That included the murder of her sister, Tammy.

There were calls to rescind Karla’s plea bargain and to try her for murder but since her plea bargain had only required her to provide enough evidence to convict Paul, it was ruled that she had upheld her end of the bargain.  While Paul Bernardo is currently serving his life sentence, Karla Homolka is now free and living somewhere in Canada.

Needless to say, the case drew international attention, both due to the circumstances of Karla’s plea bargain and also to Paul and Karla’s image of being the “Ken and Barbie Of Serial Killers.”  It’s a case that continue to haunt Canada, an example of how the accused was ultimately treated with more respect than the victims.  For her part, Karla continues to claim that it was all Paul and that she was forced into helping.  Paul claims that he and Karla were equal partners and that the actual murders were all committed by Karla.  Personally, I think they’re both lying.

2006’s Karla stars Laura Prepon as Karla Homolka.  The film opens with her already in prison and being interviewed by a psychiatrist (Patrick Bauchau) who has been assigned to determine if there’s a risk of her reoffending.  As Karla tells her story, we see flashbacks of Karla’s life with Paul (Misha Collins).  Prepon and Collins are both chillingly believable as the soulless Paul and Karla.  Laura Prepon plays Karla as being a narcissistic sociopath who is incapable of understand that she’s not the victim in this story.  I imagine that Prepon’s performance probably captures the essence of the real Karla, even if Prepon doesn’t really look like her.

That said, the film itself is largely a surface level exploration of the case.  The film’s script attempts to maintain some ambiguity as to whether or not Karla Homolka was a voluntarily participant in the murders or if she actually was just too scared of Bernardo to stop him.  Prepon plays her as being a sociopath but the script still tries to play both sides of the debate and, as a result, the film falls flat.  The film may be called Karla but it doesn’t really get into her head and, as a result, it has all the depth of an Investigative Discovery special.  In the end, the film feels like it’s trying to exploit the notoriety around a famous case without taking a firm position on the case’s biggest controversy.  When it comes to the crimes of Karla Homolka, that’s not an option.

October Positivity: Allison’s Choice (dir by Bruce Marchiano)


In 2015’s Alison’s Choice, Chanel Marriott plays Alison.

Alison is a teenager who has a difficult relationship with her father.  He holds back his emotions from her.  She’s been left feeling insecure as a result and is perhaps a bit too dependent upon validation from other men.  For instance, her no-good boyfriend, Rick (Julian Alexander), bullies her into having sex in his tiny car.  When Alison later discovers that she’s pregnant, Rick’s response is to tell her to get rid of it.  He tells her to go find a clinic and have an abortion and then talk to him later.  Rick makes it clear that he will not paying for the procedure.  He also leaves it up in the air as to whether or not he’ll even come to the clinic to support Alison.

Classy guy, that Rick.

At the clinic, Alison finds herself having doubts.  Does she really want to get an abortion?  The clinic’s rather harsh and antiseptic atmosphere doesn’t make things any easier.  One nurse (Liz Randall) tries to pressure Alison to go through with her abortion.  The doctor (Britt Prentice) confesses that he can’t guarantee that abortion isn’t murder.  At the front desk, Ms. Glo (Bunny Gibson) asks Alison is she’s really sure she wants to go through with the procedure.  A pushy social worker named Marta (Amy Lydon) assures Alison that it’s not big deal.  Lecretia (Alicia Monet Caldwell) makes fun of Alison for being a first-timer.

And, of course, Jesus (Bruce Marchiano) shows up as a janitor and encourages Alison not to get an abortion.  Actually, he encourages everyone all over the world not to get an abortion and, whenever anyone does, he starts crying.  He says that he’s been working as a janitor since 1973.  That, of course, was the year of Roe v Wade.

Bruce Marchiano has played Jesus in a number of films.  He played Jesus in The Encounter, which is something of a guilty pleasure of mine.  Marchiano has a calm and soothing voice and his eyes tend to radiate kindness, which makes him a good choice to play Jesus.  From what I’ve seen of him in various faith-based productions, he’s not a bad actor at all.  He can deliver his lines without looking straight at the camera and he’s capable of showing emotion.  By the standards of many faith-based films, that makes him almost Brandoesque.

Unfortunately, Alison’s Choice is so heavy-handed and awkwardly acted by everyone else in the cast that Marchiano’s characteristically good and empathetic performance can’t really save it.  I’m not going to get into the specifics of whether or not the film is correct about abortion, beyond saying that this is not a film that is going to change anyone’s mind about the issue.  It’s a heavy-handed pro-life tract.  (Then again, there’s also been more than a few heavy-handed pro-choice tracts.)  What I will say is that Alison, as a character, is so indecisive and, quite frankly, annoying that it didn’t take me long to lose interest in her.  Even after she becomes convinced that she’s actually talking to Jesus, she still can’t decide whether or not she loves her boyfriend.  Girl, Jesus just told you that your boyfriend is no good.  I don’t care what anyone thinks about abortion.  If Jesus suddenly shows up and tells you to dump your boyfriend, you do it.

Eh.  I’m going to go watch The Encounter again.