O Estrangulador

I suppose it's a bit trendy to do so, but Tartan films certainly does take advantage of the direct to DVD/late night cable market. The books recounting the ill deeds of Gein, Dahmer, Gacy and Buono/Bianchi are well documented. Cram as much shock into 90 minutes as possible and if you can effectively capture the pathos and motivation of these grandiose sickos all the better. I love a challenging film, one that leaves me a bit mentally drained without long-term ill effects.

I'd say this is one of the better ones, due mostly to the benefit of having two protagonists with anti-social manias to capture instead of one. And the casting of fairly well known actors doesn't hurt either, although the roles actually could have been reversed physically speaking. What I remember from the book's photos is that Bianchi was much more vital and really did look like a cop, not the skinny smarmy John Watersy used car salesman-y figure Howell presents. And Angelo Buono was tall and lean and the book described him as incredibly fastidious and anal, whereas Turturro is a bit too cliché Italian. Either way, the formula works and I think their chemistry is still effective.

This is definitely the hardest of this series of movies by the producers. The language, the real-time realism, the fear of the victims are all very palpable.

Hillside Strangler stands out as hands down one of the all time great true crime films. Chuck Parello plunges the viewer headfirst into the acid guts of sexual sadism, familial dysfunction, and spree killings.

The basic plot follows the rampage of Kenneth Bianchi and Angelo Buono, two cousins who committed some of the most perverted acts of torture and homicide recorded in the annals of American crime. What makes this film stand out so well is how mundane the circumstances provoking their spree happen to be. The murders are presented as a simple, reflexive response to a single act of humiliation.

Parello perfectly captures the tacky, sexually saturated milieu of the mid-1970's. The world in which these crimes occur is one of female objectification, sexual dysfunction, and brazen immorality. By spending some time charting the vapid nature of the cousin's lives - petty existences comprised of orgies, drugs, and non- stop cruising - the eventual segue into murder feels almost natural.

There are some extremely disturbing scenes of rape, humiliation, and murder. However, the story emphasizes psychological and environmental factors just enough that Hillside Strangler approaches the precipice of exploitation without teetering over. It's a delicate balancing act that pushes the film to a level of repulsion it would not have reached if treated as a garden-variety serial killer flick (see Mike Feifer's EXORABLE shot on HD garbage cheapies for an example of the worst case scenario of the latter).

For those who feel that this type of movie trivializes the real pain experienced by real victims, I'll point out that this film only scrapes the surface of Bianchi and Buono's evil. Parello re-stages the crimes to avoid some horrifying details (like, for example, the fact that close to half of their victims were teens - some as young as 12), and allow the audience to empathize with the killers enough to maintain interest.

Hillside is a gem of indie true crime.

Well, not bad but by no means not great. What is missing from this telling of The Hillside Strangler story is what is usually important to making a good serial killer movie: "police involvement". The fact that what really stumped the LAPD for so long is that they didn't know they were looking for two people was key in the real-life story and not even mentioned here. Also the film makers failed to really show (only in some quick snippets) just how sick and twisted these two were and some of the really gruesome things they did to their victims. I'm not saying it needed to be shown but it should have been at least mentioned. But there again that would call for police involvement. That being said I would mention that C. Thomas Howell turns in a pretty good performance here. With his gaunt appearance, silly thin mustache and pathetic shleprock mannerisms he gives his character, he almost channels the spirit of an icky Willem Dafoe performance. Almost. I'll be kind and give this a C-.

This movie is not for the faint of heart. These two men were sadistic, woman hating thugs but it transcends the genre by presenting them as human and bad, not as stereotypical Hollywood killing machines or some victim of uncontrollable compulsions. It was certainly better than earlier flicks that only hinted at their lifestyle. C.T. Howell's Ken Bianchi is a little overdone but he does a good job as portraying him as a liar, geek, sadist, weakling and a con man with a smidgen of humanity. Nick Turturro stole the show with his over-the-top Angelo Buono who was a real goon in the Soprano style of "lovable" Italian sadists. The movie takes a slap at Italian macho man culture but in the case of these two goons, it isn't offensive or unwarranted. Even before they slapped their first women, you got to really dislike them as Nick took his weaker cousin on a journey through the tawdry sexual night life of LA. The way they duped the small town girls with their phony modeling agency spiel then forced them to be whores was a good warm up to their later murder spree. Good late night flick, but definitely not for your date or the sensitive type!

Except for victim names, this true-life story of the infamous serial killings in Los Angeles in the late 1970s is mostly factual, and is told from the POV of the two killers: Kenneth Bianchi (C. Thomas Howell) and Angelo Buono (Nicholas Turturro). As such, the film functions largely as a character study of these two criminals. The script is structured as a series of events, in chronological order, beginning with Bianchi's life in upstate New York, where he started out as a petty thief.

Although he apparently tried to live a reasonably normal life, Bianchi felt constantly rejected, especially in his repeated, unsuccessful efforts to join the police force. He tells his mom: "Whatever I do, nothing ever turns out right; sometimes I just want to find some tall building and take a big fall".

His hook-up with Angelo Buono in Los Angeles proves fatal. Buono, a domineering, unctuous brute who haunts the tawdry, seedy areas of LA, persuades Bianchi to go into the hooker business. But that effort backfires as a result of one particular prostitute and as a result, the two men lose their "business". Seeking "payback", they lure into their presence, and then kill, a whole series of women, mostly street hookers, as a way to "settle the score".

Their murder partnership calls to mind the symbiotic relationship between Perry Smith and Dick Hickock, in the film "In Cold Blood" (1967). It was the liaison, the merger of mindsets that ultimately led to the killings.

Some of the scenes in "The Hillside Strangler" are quite graphic. They are hard to watch because the victims are portrayed as real people who happened to be at the wrong place at the wrong time. I think the Director could have spent less time showing us the nude bodies of the victims, which strikes me as gratuitous and unnecessary.

Both C. Thomas Howell and Nicholas Turturro give performances that are credible. Allison Lange, as Bianchi's girlfriend in LA, provides about the only semblance of humanity in this dark story. Toward the film's end, an effort to enact a copycat killing renders an interestingly strange plot twist that presumably really happened.

The entire story is very depressing and disturbing. However, visual shock value notwithstanding, the film's presentation of that story is realistic and credible. It's not for the faint of heart. And the film's story has greater breadth than depth. But as a general overview of events and of the mindset of the two criminals, "The Hillside Strangler" is certainly worth watching.