4.6/10
198
5 user 1 critic

The Killing Jar (1997)

Michael Sanford and his wife move to his old town so he can take over the family business. However, gruesome murders of children start to happen. Meanwhile, Michael starts to become slowly ... See full summary »

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Cast

Cast overview, first billed only:
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Michael Sanford
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Diane Sanford
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Cameron
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Chajén
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Danny 'Figaretto' Evans
Edith Varon ...
Martha Resigy
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Dick Resigy
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Pete Lawrence
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Det. Jake Pestone
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Det. Bernie Morris
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Dr. Vincent Garret
Michael Halpin ...
Stuart Weissman
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Sheriff Foley
Holley Chant ...
Katie
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Robert Sanford
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Storyline

Michael Sanford and his wife move to his old town so he can take over the family business. However, gruesome murders of children start to happen. Meanwhile, Michael starts to become slowly insane, after he may have witnessed one of the murders and reports it to the police. Is he the murderer, or is it something of his past? Written by Parca Mortem <icy_shadow@rocketmail.com>

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Plot Keywords:

murder | independent film | See All (2) »

Taglines:

Everyone has secrets. Some are more dangerous than others.


Certificate:

R | See all certifications »
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Details

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Release Date:

27 May 1997 (USA)  »

Also Known As:

Der gläserne Tod  »

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1.85 : 1
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Did You Know?

Quotes

Dr. Vincent Garret: Essentially, the eyes are a sort of a camera, in which you can figure the brain is a roll of film. Everything we see, feel, touch, is stored for an indefinite period of time. The key is being able to retrieve it.
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Soundtracks

THE DAME IN RED
Composed by Robert Farnon
Courtesy of Zomba Music Services
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User Reviews

Missed Opportunities
18 June 2003 | by (Right Behind You) – See all my reviews

The story here is, at heart, a fairly standard 'taut' suspense thriller with a few modest twists. The cast ranges from workhorse to strong, including should've-been-stars Tamlyn Tomita and Wes Studi, plus support from Brion James, M. Emmet Walsh, Xander Berkeley, etc. Brett Cullen comes off a bit wooden in the lead role, but I can't be sure it's his fault.

The real problems here are the slow, uneven pacing, the even more uneven atmosphere, and the often amateurish direction that makes the actors stand around and deliver dialogue in extended chunks of stagey-looking shot-reverse shot and too much camera motion. The editing doesn't seem to have helped, but it's hard to tell what's an editing error and what was a failed attempt to fix the direction. The script and story could have been punched up a bit, too.

Tamlyn Tomita is luminous, and a lot of the cast is working hard here, but it doesn't come together.


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