28. HENRY: portrait of a serial killer (horror-thriller, 1992) Henry (Michael Rooker) lives with his ex-prison buddy Otis & teen sister Becky. Henry and Becky strike up a relationship. Meanwhile, he and Otis strike up their own love for killing, setting out on a murder spree. But Otis begins to lose control of all reality, as his perverse sexual urges extend to his own sister. When Henry finds out things take a turn for the worst.
Critique: This graphic, low-budget venture was made in 1986 but due to distribution and rating problems was released 6 years later. The story is based on the confessions of serial killer Henry Lucas (who allegedly confessed to more than 500 murders). Since the story eschews from any reference to real life events, it is very loosely told. Writer-Director John McNaughton focuses more on the characters and their motivations for killing.
The only thing we know of Henry is that like most serial killers, he had an abusive childhood. Besides this we don't really get to understand his motives for killing. As is the case with most low-budget films, the cheap footage and authentic low-budget production help it. McNaughton shows flair by the use of hand-held cameras (particularly in the disturbing 'family slaughter' scene) and realistic use of cinematography (invoking a visionary paranoia and suspense). The ending further distances us from the nature of evil.
QUOTES: Pawnbroker: "Of course it's black and white. What do you expect for 50 bucks? FV@*in' 3-D for God's sake?"
Critique: This graphic, low-budget venture was made in 1986 but due to distribution and rating problems was released 6 years later. The story is based on the confessions of serial killer Henry Lucas (who allegedly confessed to more than 500 murders). Since the story eschews from any reference to real life events, it is very loosely told. Writer-Director John McNaughton focuses more on the characters and their motivations for killing.
The only thing we know of Henry is that like most serial killers, he had an abusive childhood. Besides this we don't really get to understand his motives for killing. As is the case with most low-budget films, the cheap footage and authentic low-budget production help it. McNaughton shows flair by the use of hand-held cameras (particularly in the disturbing 'family slaughter' scene) and realistic use of cinematography (invoking a visionary paranoia and suspense). The ending further distances us from the nature of evil.
QUOTES: Pawnbroker: "Of course it's black and white. What do you expect for 50 bucks? FV@*in' 3-D for God's sake?"