The Film- The film begins with a young Jeffrey Dahmer, freshly discharged from the military, moving into his grandmother’s house in Wisconsin. Things seem to be going peacefully for Dahmer, but deep down, he’s a ticking time bomb. After working out (believe me, it looks as awkward as it sounds), Dahmer makes a move on the hitch hiker- and is met with a hostile rejection. He dismembers the man in the bathtub with a power saw, and packs his remains into a suitcase- which he takes home and leaves in his room for days. With Dahmer’s next victim, he realizes all he really wants is a companion who will never leave him.
Keeping parts in his freezer and dissolving the rest in 55 gallon drums filled with acid, the only problems Dahmer has to worry about are the neighbors bitching about the stench (which he plays off as a rotten rump roast). Eventually Jeffrey Dahmer lets one victim slip by- Ironically, the older brother of the boy he molested. Pretty much since the original Texas Chainsaw, horror film makers have been drawn to the true crimes of serial killers.
Then I heard The Secret Life was coming to DVD, and immediately began to get all excited and shit.
Speaking of sympathy, there’s actually an oddly surprising level of emotion tugging in this one. The Secret Life: Jeffrey Dahmer is not the best true crime film ever made, but it never had that intention.
The only two film-related extras are a commentary track with director David Bowen and actor Carl Crew, and the original trailer. In the wake of the financially successful but critically drubbed Transformers: Revenge of the Fallen, Michael Bay and company return to the fray with this considerably more coherent exercise. The grindhouses may be long gone, but their memory lingers on, thanks to releases like this one, which, being released in 1993, is from the twilight years of theatrical exploitation, and thus more accurately from the second, virtual life the grindhouse aesthetic found on home video.
Gregory Peck is an aging Scottish outlaw, and Desi Arnaz Jr is his “breed” (as Jack Warden’s racist sheriff refers to him) partner. Having accidentally caused the death of her mother, Helen (Jenny Neumann) develops an unhealthy fixation with broken glass. Ann Gentry (Anjanette Comer) is a social worker with a new case, one that she specifically sought. The third BloodRayne film (and second with Nastassia Malthe in the title role) sees the titular dhampir slicing up Nazis, and so the chronology of the third film rejoins that of the first game. Renee Zellweger is Jane, a former country singer who has lost the will to live since an accident left her in a wheelchair. MGM’s Limited Edition Collection heads into enjoyable but far-from-classic territory with this goofy horror tale. This is a biopic about two very obscure people whose relationship has escaped the attention of all but a select few. A good friend of mine and I have had long-standing difference of opinion about Black Sabbath.
World War II has just ended, and the recently discharged Robert De Niro hits New York on the prowl for sex. The second version of Cornell Woolrich’s novel “Waltz Into Darkness” (previously filmed as Francois Truffaut’s Mississippi Mermaid), this is a decidedly steamier version, especially here, in its unrated form. Cuban plantation owner Antonio Banderas advertises for a wife, and the woman who answers his ad is, he believes, plain but pure. When the ambassador husband of Lady Elena Hamilton (Anita Rinaldi) is kidnapped by pirates, and she receives no help from the authorities, she decides to rescue him herself. Pierfancesco Campanella (who also wrote the film) stars as a university psych grad student working on his doctorate. Jean-Hugues Anglade plays Zorg (yup, that’s his name), a handyman living in a beach-front house, scribbling away quietly in his spare time. A mother locks her child in a closet so she can have an uninterrupted tryst with her lover.
During the Korean War, a platoon led by Laurence Harvey and Frank Sinatra is captured and sent off to Manchuria. Clowns have been a recurring obsession for Fellini, by the director’s own admission, and after having been memorable presences in his films (perhaps most notably in La Strada), here they have an entire film devoted to them. Sherry McKay: I am going to say Justin Trudeau the Prime Minister of Canada, and Donald Trump. His trampling grounds are gay bars, and after picking up his stud for the evening, they head to a hotel room. After his ritual (which by this point has evolved into drugging the victim, strangling them, and dismembering the corpse), Dahmer adds a new step- keeping a memento from the victim. After being arrested for molesting a boy, Dahmer is forced to attend AA meetings, and must check in with a probation officer (possibly the worst actress in the entire film).
He even beats a man with a hammer, then lets him go to see if the police will buy his story.


After peeking into the freezer (and finding photographs of mutilated corpses), Jeffrey Dahmer, the Milwaukee Monster, is finally caught. Films like Deranged and The Zodiak Killer (1971) took the base story and ran with it, warping the names and facts to create a sensational horror film rather than an actual dramatization. Regardless, a few independent studios began to crank out as many serial killer docu-dramas as they could. He’s usually dressed tees that have skulls or movie posters on them, as opposed to most reports that he was always well dressed and nerdy.
Some of his emotional rampages are kinda goofy, but when he delivers his emotionless, flat narration, it’s downright creepy. One scene that comes to mind is Dahmer sneaking up on a deaf victim with a skill saw, taunting him and describing what he’s going to do with his corpse.
Some of the murders kinda sorta make you grin a bit at how silly they look, which makes you feel like a really bad person. But even when you watch it now, it’s hard to tell if it was indented to be 100% serious or a little sensational too.
Other extras are limited to a handful of trailers for Intervision titles, including the first hint at the future release of A Night to Dismember. Given that this movie committed to advancing the cause of 3D like no other film since Avatar, the question arises as to how well its visual splendour and over-the-top technological extravagance will translate to home video.
This is the life of Jeffrey Dahmer, narrated in retrospect by the serial killer (screenwriter Carl Crew).
I could tell you that this is the story of three friends in a woodland cabin who must fight monsters spawned by the wife of one of them.
Warden captures Arnaz, but Peck, who could have been free and clear with all the stolen money, rescues him, much to Warden’s puzzlement.
On the even of their tenth birthday party, we discover that these kids, for astrological reasons, are complete sociopaths, and are having a merry time offing anyone in the community who even vaguely annoys them. Forest Whitaker is Joey, who can talk to angels and ghosts since he witnessed the death by fire of his family.
In his terrarium, he has developed a social network with inanimate objects that would be the envy of Castaway’s Tom Hanks.
Tom Selleck is an art historian living in the Philippines with his in-therapy wife (Barra Grant).
All kidding aside, what we have here is a dramatization of how the heir to the British throne (Nico Evers-Swindell) meets Kate Middleton (Camilla Luddington), and how their romance gradually blossoms. The collection is eclectic, following no particular theme (though there are several Hammer films present), and the era covered ranges from 1941 (The Invisible Ghost with Bela Lugosi) to 1998 (Trauma’s Terror Firmer). Kin and friends have gathered for the funeral of the family patriarch bringing with them their foibles, eccentricities, and disasters waiting to happen. He runs up against WAC Liza Minnelli, and the more she resists his advances, the more determined he becomes. Who shows up, however, is the beautiful but duplicitous Angelina Jolie, who has larceny rather than matrimony on her mind.
To this end, she recruits the roguish Captain Thomas Butler (Carlo De Palma), and together they put together an eccentric band of misfits for the mission.
He embarks on some radical research by shooting up, and the next thing we know, he’s killing his mother by depriving her of drugs, poking a baby with a needle, and generally behaving rather badly.
Not so quiet is his tempestuous affair with Betty (Beatrice Dalle in her debut), whose passions overwhelm both of them. Then look no further than this box set of gritty, thematically linked Italian crime pictures from director Fernando Di Leo. Here the men are brainwashed into believing that Harvey saved them all in an incredible feat of heroism (which he did not) and that he’s a loveable guy (which he isn’t).The unfortunate Harvey is programmed to become a remote-control assassin.
His life changes one day when he picks up a hitch hiker, who agrees to head back to Dahmer’s pad for a few beers. Jeffrey blacks out from being piss drunk, and awakens the next morning to find his lover dead. In this case, he boils the meat from the skull and paints it (to make it look like a plastic model). These slight inconveniences don’t stop him from murdering almost half a dozen additional men. When the cops show up, but only knock then go on their merry way, Dahmer feels untouchable. Like I said earlier, his probo officer is basically just a skinvelope with no personality or character.
His apologies, happiness in being caught, and descriptions of the murder are all slightly bitter and monotone, making you feel a slight twinge of sympathy, but immediately question it.
And even Dahmer himself manages to pull that odd bit of emotion from the viewer- being disgusted with himself, but still not able to stop killing.
Either way, it’s a good horror film and an above average look at the mind of a serial killer.


It’s not all the way truthful, some of the acting is beyond bad, and the story seems to become redundant at times (hence why I kept the plot summery a little short this time, how many times can you describe or show the same murder before it gets old). The roughness of the picture really fits with the overall mood of the film, creating a perfectly unpolished experience. The dialog is a little rough in a few places, but same as the picture, I like the roughness. Dahmer recounts his obsessions and growing need to kill, and a fair bit of the film’s running time consists of Dahmer hooking up with young men and murdering them.
Peck is wounded in the getaway, however, and as the two friends are pursued by the law across a barren landscape (with Israel playing the role of the American West), the younger, less-experienced man must take on the responsibility of saving both their lives. The only ones who even gradually suspect that something is going on are high school senior Joyce (Lori Lethen) and her little brother Timmy (K. It consists of a terrifying matriarch (Ruth Roman), sexpot daughters Germaine (Marianna Hill) and Alba (Suzanne Zenor), and Baby (David Mooney, credited as David Manzy), a grown man with, apparently, the mental development of an infant.
These two wounded souls bond and bicker, and when Joey finds a letter from Jane’s son, whom she gave up for adoption years ago, he decides that she must see him.
He essentially lives inside his head, but then reality (perhaps – the film maintains a certain ambiguity here) suddenly intervenes and he finds himself cast from his safe, hermetic world. He buys a painting (supposed to be centuries old, but looking for all the world as if it were commissioned for a motel) that depicts witches being burned, and the central witch bears an uncanny resemblance to Grant. He arrives at university, and every blue-blooded young woman has him in her sights, but it is, naturally, the down-to-earth girl who draws him, the turning point being when she shows that she’s sexy as well as smart during a student fashion show. Present are the likes of The Devil-Ship Pirates, Gorgo, Donovan’s Brain, Deep Red, Flesh Gordon, and so on.
I continued to buy Sabbath albums though all the band’s different incarnations, and while some releases did, I confess, require a greater degree of loyalty than others, the Ronnie James Dio studio albums (Heaven & Hell, Mob Rules, Dehumanizer) have always been favorites of mine. Her scam runs smoothly at first … but she hasn’t counted on the depth of Banderas’ obsession with her. He winds up at a rich man’s residence, hooks up with his spoiled daughter, and the two embark on a picaresque journey of debauchery and murder. Back in the States, Sinatra is plagued by nightmare memories of the experience, and gradually comes to believe that something … really did happen. The film opens with a young boy (meant to be Fellini) first encountering (and being frightened by) clowns at the circus. Yeah the actors look like their real life counterparts a little bit, and the stories follow the facts decently, but they’re just a goddamn bore to sit through. Enough to make the blood ‘n guts fiends happy, but also restrictive enough to let the story and character of Dahmer be what you remember when the credits roll. Even with its flaws, The Secret Life manages to be an interesting mix of the mentality of a killer and the gruesomeness of his crimes. What the story is really about is two, sometimes three, guys sitting around and drinking beer. But Ann suspects Baby is capable of more, and that there is something fundamentally wrong going on at the Wadsworth residence. Marooned in the desert, he arrives in the town of Dirt, where his inclination for the dramatic has him claiming to be a sharp-shooting, quick-drawing hero. The former struggles under the shadow of his famous brother’s success as a writer, his plight encapsulated by the fact that everyone in attendance is disappointed that Troy will not be giving the eulogy. So begins a tempestuous relationship between two artists whose enormous talents and equally enormous personalities mean they can neither live with nor without each other.
Then, when she discovers his writing, she decides they must move to Paris so he can have a career as a writer.
After doing so for a fair bit of running time, they then fall prey to a hulking masked maniac, who not only has the titular hammer, but also has all sorts of supernatural powers.
I knew that I was in store for a gritty, unpolished, unbloated film about possibly one of the sickest human to ever live. Carl Crew (who people will remember as one of the cannibal brothers in Blood Diner) gives a solid performance as Dahmer, but in personality only. I mean in real life his Gramma lived in Ohio, not Wisconsin, but does that really alter the story THAT much? In short, it’s a raw, rough film full of blood, oddly effective emotional manipulation, and Speedo undies. The Wadsworths, meanwhile, do not take kindly to Ann’s prying, and will stop at nothing to preserve their way of life. But his problems are about to become much, much greater, as the funeral descends into a chaos of unwelcome revelations, blackmail, drug freak-outs.
In any event, this is a film made five years prior to the movie its title suggests it is following, and doesn’t actually have any cannibals, as such, in it.




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