Killer: A Journal of Murder

I haven't read the novel, and if it's comparable to this, I have no intention of doing so. My father purchased this for me, on account of the name attached to it. I had never heard of it, and it's not surprising that this was pretty forgotten. It's uncompromising, that's for sure. However, it really doesn't "work" on us. We're not that engaged. This borders on propaganda for the death penalty and for the idea of some people just being "evil", or "bad seeds". Everything that Panzram is seen doing in this can be explained through psychology, even if his actions are not exactly admirable. When we first see Woods, he's mugging in extremis; this he fortunately stops, and gradually, we do come to understand him. His guard, too. Those are about it. Everyone else is there either to provide opposition, or because they were in real life. The only characters we get are a hateful one and a seemingly naive one(certainly by this movie's logic). Well, the Irishman is interesting enough. The acting is good. Editing and cinematography are average. This is close to being pure emotional porn for those who read/watch stories about serial killers. There is a lot of strong language, a bit of brutal, bloody violence and disturbing content including a rape in this. I recommend this to those who catch all of these, and big fans of James. 6/10

All films that take place in prison are essentially focused on one central theme, and that is survival. Clint Eastwood was a survivor in "Escape from Alcatraz" and so was Tim Robbins in "The Shawshank Redemption."

One of these stories was anchored in reality and the other was purely fantasy. But both had the same theme and so does "Killer: A Journal of Murder."

The primary difference between "Killer" and "Shawshank" is that the latter is greater than the former in many various ways. But the former is also based on fact, which makes it more important--in some ways--than "Shawshank." But "Shawshank" had more spirit than the former and the former's morals don't come across as strong as the latter's.

The latter, regardless of it being a completely false tale and a semi-copy of "Alcatraz," is a much better story. Even if Stephen King wrote the short story.

It's the true story of a petty thief (James Woods) who claimed to have murdered twenty-one men during the 1930s, and was sent to prison under the care of a devilish warden and a new worker who had a mysterious connection with him (Robert Sean Leonard). Their relationship is never very convincing and the film doesn't do a very good job of making us care for either of its characters.

Acting as a tertiary consumer, the thief kills the secondary consumer, The Bad Guard (Robert John Burke). The thief is moved to a new jail cell afterwards. He has all the cigarettes, books and magazines he could wish for, not to mention a larger cell. "I shoulda killed a man ages ago," says the thief.

Is he crazy or not? Did he brutally beat the bad guy via a split personality, or was he in a right state of mind? This is the question that the film wants to press--whether the man was injustly hanged--but it never takes the idea any farther than a fleeting moment in the mind of the good jail guard who understands that prison is wrong. Hey, no society is perfect. You want them all to be let loose on the streets? You don't have any better ideas about capital punishment? Then quit whining.

There are too many ideas in a film such as this. First we have the touching story of a jail guard who becomes best buddies with the notorious criminal who inhabits the place. Then we move into the Danger Zone of cliches--the mean warden, the bad jail guards who are bad for no reason, etc. Then we move on to the journal written by the thief and we get a half-hour flashback of the man's life. Then we're back in the present and everything turns into a murder trial. Then we get an unsatisfying ending where the good guy blows all his money buying beer. Say what?

Essentially these types of films in this type of genre rely on likable characters to carry them towards the touchdown. "Killer: A Journal of Murder" has none and isn't very inspiring in any sort of subtle way, which makes me wonder why--and how--it ever got green lit in the first place.

James Woods is a good actor because he can lend himself to various characters in various situations. He played a criminal in Leone's "Once Upon a Time in America," too, but he also played a radio talk show manager in "Straight Talk" and a nasty bird in "Stuart Little 2." He's played a cop before and he's played an everyman before and he's played a doctor before. He plays everything.

Surprising, then, that this movie relies entirely on Woods' performance for support--and entirely fails.

There's nothing wrong with it except that there's nothing behind it. There's no life in this petty criminal he portrays--a man who may or may not have been insane but was hanged in the 30s anyway. Woods lends no likeability or believability or characteristic traits to this man he is portraying, and in the end he comes across as a pointless incarnation of a man whose life, perhaps, never even merited the Hollywood treatment in the first place.

This is the type of stuff Oscars are crafted and polished for, but the director had it mixed up from the get-go.

The common conception is that it is hard to survive in prison. This is a well-known fact. But it's also very hard to survive yourself. That is why prison is representative of more than just bars and criminals--prison relates to all of us, and we all relate to the confinement of prison. But the common misconception is that prison automatically makes a good film. It's the exact opposite. You've got to have the material first, then put the prison in as a sort of metaphorical bridge for the characters to pass over.

No one does any passing in "Killer: A Journal of Murder." It's sort of depressing in a non-depressing sort of way.

2.5/5 stars.

• John Ulmer

Carl Panzram was a viscous creep with a real life bite-your-face-off attitude. Woods played him to smithereens.

Sure he overacted a bit, but Panzram was not the most laid-back guy.

The problem with this film is that it couldn't decide if it was a character study or a condemnation of prison conditions. They also managed to throw in religious bigotry and left-wing politics. It did it better than some films would have, but the ending left too much open.

Woods owned the film. He had Carl as both Genius and loose cannon. The real Panzram was similar. And many quotes contributed to him are scattered about the film. ("I wish you all had one neck..." "I could hang a dozen men...") Leonard did an adequate job as Henry Lesser but played him a bit to "nice." Most of the guards kept their distance from ol' Carl. With good reason too.

Woods fans see this now. Anyone else...your call.

James Woods is again at his best in this very interesting and captivating movie of one mans flight through life, comes to the sad ending he always thought he deserved. Befriended by only two people in his life, he truly had a heart under what everyone believed to be plain meanness.

Don't get me wrong; this movie is worth at least one viewing. James Woods - as usual - is great in his performance, and the supporting cast is good, too.

Killer: A Journal of Murder is based on Thomas Gaddis' and James O. Long's fascinating 1970 book of the same name. It contains many of the letters Panzram wrote to Henry Lesser (who was a Washington, D.C. jail guard, not a prison guard at Leavenworth) while he was on death row in Leavenworth.

While it is a common practice for films to take artistic liberties when dealing with true stories, this film went a bit far in trying to make Carl Panzram (Woods) into a sympathetic character. True, Carl Panzram was the product of a barbaric prison system, but he stands out in history as one of the few arch-criminals who did not want sympathy, something this film ignores.

This was a film that needed to be made, but unfortunately, the story was mishandled in a maudlin attempt to get the viewer to care about one of the most reprehensible human beings who ever lived. If they had wanted to make a biographical film to convey their particular message, the people responsible for this movie should have made a film about Caryl Chessman, a criminal more eloquent, tragic and - most importantly - far more sympathetic than Carl Panzram.