DEXTER: RESURRECTION

Michael C. Hall as the ever-delightful Dexter

DEXTER: RESURRECTION (2025). 

Dexter Morgan (Michael C. Hall) , the serial killer who generally only murders other serial killers, did not die at the end of his last mini-series. He survived being shot in the chest by his own son, Harrison (Jack Alcott). Dexter continues to have conversations with his dead father (James Remar) -- a device that is a bit tiresome, frankly -- as he makes his way to Manhattan (!) to see if he can be reunited with his son, who's got himself into a bit of trouble due to his lack of impulse control. Meanwhile, a truly evil serial killer is sawing off the heads of unlucky cab drivers; detectives are looking into the brutal death of a hotel guest/rapist; and Angel Batista (David Zayas), who always suspected colleague Dexter was the Bay Harbor Butcher, is determined to bring him to justice. If that weren't enough, Dexter learns that a strange midget billionaire named Leon Prater (Peter Dinklage) has assembled a group of serial killers for his own weird purposes. Will Dexter bond with these people who have some of the same "urges" as he does -- or kill them?

Jack Alcott as Harrison Morgan

I admit when the midget and his gathering of sickos are introduced I feared that Dexter: Resurrection had gone off the rails. But once I accepted that this storyline was even more far-fetched than usual, I found myself mightily enjoying the series. Hall is a terrific actor, and sheer perfection as Dexter. He is matched by Alcott, Zayas, and Dinklage, and there are also fine performances from Ntare Guma Mbaho Mwine as Dexter's friend and landlord, Kadia Saraf as the ever-grim Detective Wallace, and many others. Uma Thurman is also effective as Prater's head of security. Although top-billed with Hall, she doesn't really have that much to do. 

Peter Dinklage

You wouldn't imagine that the subject matter would lend itself to it, but Dexter: Resurrection is as much a (very) black comedy as it is a horror story. (Detective Wallace giving in to her adoration of the Bee Gees' "Staying Alive" from Saturday Night Fever is hilarious.) With a variety of twists, bizarre characters, edge-of-your-seat escapes, and major suspense, Dexter: Resurrection is a winner all the way. It has been renewed for season two, airing in October. 

Verdict: Totally absorbing and oddball series with wonderful performances. ***1/2.

GHOST IN THE MACHINE

GHOST IN THE MACHINE (1993). Director: Rachel Talaley. 

Karl Hoffman (Ted Marcoux), who works in a computer store, is actually a deadly serial killer known as the "Address Book Killer" because he goes after all the people in an individual's address book. His latest would-be victim is Terry Monroe (Karen Allen), who has a young son named Josh (Wil Horneff) and who inadvertently leaves her address book at the aforementioned computer store. An added complication is that Hoffman is in a car accident, and while he is getting an MRI an electrical surge pulls his brain patterns, or soul, into the computer and electrical systems. Hoffman's body may be dead, but his malevolent mind is still very active and as sadistic as ever. Before long Terry's friends and associates are being killed via electronics, with microwaves, dishwashers, and the like going berserk and causing death and destruction. Terry and Josh team up with infamous hacker Bram Walker (Chris Mulkey) to figure out a way to permanently dissipate this frightening and powerful entity. 

Ghost in the Machine is somewhat similar to Wes Craven's Shocker, but it is a better picture. There is an interesting use of graphics such as when the killer invades a virtual reality game being played by Josh and his buddy. The scenes with the electronic death traps are generally well-handled and suspenseful. A standout sequence occurs when Josh is nearly drowned when Hoffman operates the cover over the pool and the boy desperately tries to get out before it completely entraps him. I wish the climax had been a bit more exciting, however, and the score does absolutely nothing for the movie. 

Verdict: Well-acted, interesting, absorbing horror flick. ***. 

THE KILLING HOUR

Norman Parker and Perry King

THE KILLING HOUR (aka The Clairvoyant/1982). Director: Armand Mastroianni. 

The corpse of a handcuffed prostitute is found in the Hudson river, and then a series of men, also handcuffed, are murdered in various ways. Detective Larry Weeks (Norman Parker) and his causal friend, TV journalist Paul "Mac" McCormack (Perry King), both try to unveil the killer using different methods. Each man gets involved professionally and romantically with an artist and psychic named Verna (Elizabeth Kemp), who has visions of the murders which she transposes into artwork. But once the killer finds out about this ability, will she become a target?

Elizabeth Kemp with Perry King

Although The Killing Hour can be slow-paced, it does have an interesting storyline and works up some suspense towards the end. One could argue, however, that the revelation of the killer's identity makes this person's actions a little inexplicable. Parker and King both give very good performances -- the detective is also an aspiring stand-up comic and there are scenes at New York's Comic Strip nightclub  (which is still open today). Kemp and other cast members, including Kenneth McMillan as a grumpy chief detective, give okay performances. The murder sequences are bloodless and tasteful (almost too much so), and one especially diabolical trap has a man handcuffed by the ankle to a ladder in a swimming pool, causing him to drown. 

Verdict: Passable suspense thriller with some good performances. **3/4.  

HEART EYES

HEART EYES (2025). Director: Josh Rubin.

A serial slayer known as HEK (Heart Eyes Killer) has already struck on Valentine's Day, targeting couples and others who get in his way, when he makes his presence known in grisly fashion in Seattle. Advertising woman Ally (Olivia Holt of Totally Killer) and newcomer Jay (Mason Gooding), carry on a budding, awkward romance while dodging attacks from the killer. Finally cornered, they find out the dread secret of the Heart Eyes maniac.

The Heart Eyes Killer

Heart Eyes begins with a sequence in a winery where a female victim is literally crushed in a wine press, her head being graphically smushed for the edification of disaffected gore geeks. Then we get a whole series of rom-com type scenes which are completely out of sync with the opening sequence. There's a scene when our young couple inadvertently lead the maniac to a drive-in theater, where he proceeds to hack and slash at dozens of people -- this is a highly uncomfortable reminder of such real-life scenes of slaughter (albeit this killer doesn't use a gun). 

Gooding and Holt

Okay, Heart Eyes doesn't get points for good taste, nor for its rather self-absorbed lead characters (Ally takes forever to start thinking about the many innocent victims and never really expresses much dismay over the people she literally sees killed right in front of her.) However, the climax, which has at least one surprise, is well-done and satisfying. Mason Gooding, an appealing actor, is the son of Cuba Gooding, Jr. 

Verdict: An odd mix of humor and gore that unlike the early Scream movies, doesn't quite work. **1/4. 

PHENOMENA / CREEPERS

PHENOMENA (aka Creepers/1985). Director: Dario Argento. 

At the Richard Wagner International School for Girls in Switzerland, Jennifer (Jennifer Connelly), a new student with a sleepwalking problem, develops a strange affinity for insects. This comes in handy in tracking down an unknown maniac who is murdering several of the students. Donald Pleasence plays the entomologist, McGregor, and Daria Nicolodi is Frau Bruckner, who is keeping a deadly secret. Heroine Connelly is too inexperienced to convincingly carry the film, but considering the things she's called upon to do one has to say that she earns her pay and then some. Pleasence, Nicolodi, and a lovable chimp are much better. This is a somewhat zany but likable picture with a few memorably gruesome sequences. 

Verdict: A fascinating Gothic nightmare. ***. 

BLUEBEARD'S TEN HONEYMOONS

BLUEBEARD'S TEN HONEYMOONS (1960). Director: W. Lee Wilder.

"One round trip. The other one way." -- Landru to ticket agent while taking victims to his cottage. 

Loosely based on the murderous career of Henri Landru (also the basis for Chaplins' Monsieur Verdoux) -- although it follows the basic facts accurately enough (eliminating Landru's wife and children) -- this stars the estimable George Sanders as a man who woos wealthy widows and then murders them (he never does get around to marrying them, however). In real life, Landru's motivation was essentially profit, but in this film he needs money so he can shower his trampy girlfriend Odette (a zesty Corinne Calvet) with gifts. Although in the true story most of Landru's victims were elderly, in  this movie the shame is that they are very attractive and warm middle-aged women who would have made Landru a much better and more loving mate than Odette. As in real life, the sister of one of the victims helps the police track Landru down. Sanders is terrific as Landru, backed by a highly able supporting cast, including George Coulouris [Womaneater] as a furniture dealer. Fast-paced, darkly amusing, and memorable. Wilder also directed Killers from Space and Manfish, but this is vastly superior to both.

Verdict: Whatever its flaws, the picture  -- and Sanders -- are damned entertaining. ***.

TRAP

Ariel Donoghue and Josh Hartnett

TRAP (2024). Written and directed by M. Night Shyamalan. 

Family man Cooper (Josh Hartnett) takes his excited teenage daughter, Riley (Ariel Donoghue), to a concert given by her favorite singer, Lady Raven (Saleka Shyamalan, the director's daughter). Noting the presence of an unusual number of law enforcement officials, Cooper learns that a trap has been set for a serial killer known as the Butcher, because the cops discovered that he will be attending the concert. Now the killer -- Cooper himself, as we learn early on -- has to figure out a way to get out of the concert venue without being captured. To that end he will use his own daughter -- and Lady Raven. But will the brave singer be able to save her own life, as well as that of the latest victim, which Cooper is holding captive? 

Harnett with Shaleka Shyamalan

Trap could have been a suspense masterpiece, but Shyamalan blows it. Others have noted that at times it comes off more as a showcase for Shaleka Shyamalan's singing ability than a serious thriller. The biggest problem is that while Shaleka has personality, she isn't much of an actress, and expecting someone so inexperienced to deliver in a difficult role like this is ridiculous. Hartnett, Donoghue, Alison Pill as Cooper's wife, Rachel, and even Hayley Mills, of all people, as an aged FBI profiler, are more on the money. 

Hayley Mills and Alison Pill

The shame of it is that Trap has an excellent premise and a strong story but it's done in by a flaccid  and rather frivolous directorial approach that strips the film of most of its suspense and virtually all of its tension. The lowliest slasher film has more energy. The film could also have been very moving in regards to the shocked members of Cooper's family finding out and having to deal with the unthinkable. (The ending sets up a sequel that will probably never materialize.) The illogical moments include scenes in which law enforcement seem impossibly incompetent. Shaleka's singing -- she sounds like hundreds of other singers -- is better than her acting, which isn't saying much. Her songs are acceptable, instantly forgettable pop ditties. 

Verdict: What the great Hitchcock could have done with this material! **1/4.  

LONGLEGS

Dakota Daulby and Maika Monroe

LONGLEGS (2024). Written and directed by Osgood Perkins.

FBI agent Lee Harker (Maika Monroe) is assigned to the case of a weirdo named Longlegs (Nicolas Cage) who somehow gets men to murder their families and then off themselves. As Lee and her boss, Carter (Blair Underwood), investigate further, Lee discovers that Longlegs' accomplice may be much closer to home than she realized. And what about that strange lifelike doll that's found under the floorboards in an abandoned home?

Nicolas Cage in another bad movie

The vastly overpraised and illogical Longlegs is almost like a travesty of a serial killer movie. It's hard to imagine that someone as nervous and neurotic as Lee Harker would ever have been made an FBI agent. Even if one accepts that Lee is a strange, moody person, it doesn't excuse the wretched and dull performance given by Ms. Monroe. Nicolas Cage -- yes, this is yet another lousy movie that the actor is in -- offers a perfectly okay stunt performance aided by tons of spooky make up. 

How did I get in this crap? Alicia Witt 

Alicia Witt, who once starred in slasher films like Urban Legend, is also okay as Lee's weird mother.  Although Blair Underwood from L.A. Law is now middle-aged, he still seems cute and baby-faced, but his performance is -- again -- okay. There are so many holes and implausible moments in the story that it's almost laughable, and the movie isn't good enough to enable the viewer to suspend disbelief. Osgood Perkins, the son of Anthony Psycho Perkins, does not betray much skill as either a writer or a director: the movie has no energy. The film's only saving grace is the atmospheric cinematography by Andres Arochi. Elvis Perkins' score has its moments as well. 

Verdict: For heaven's sake if Nicolas Cage is in the cast find another movie! *1/2. 

THE STRANGE VICE OF MRS. WARDJ

George Hilton and Edwige Fenech

THE STRANGE VICE OF MRS. WARDJ (aka Lo strano vizio della Signora Wardh/1971). Director: Sergio Martino. 

In order to get away from her abusive lover, Jean (Ivan Rassimov), Julie  (Edwige Fenech) married her more pliable husband, Neil Wardh (Alberto de Mendoza), first secretary at the American embassy. Jean is still pursuing her when she meets the cousin, George (George Hilton), of her friend Carol (Conchita Airoldi), and with some initial reluctance begins an affair with him. Meanwhile a mad razor slasher is running around the city of Venice where they all live, brutally murdering young women. The latest victim, who went to a park to confront a man blackmailing Julie over her affair, is Carol. Unable to deal with it all, Julie runs off to Spain with George, where her final fate awaits her ... 

the underground garage sequence

The Strange Vice of Mrs. Wardj is better-known in shortened versions under the titles Next! or Next Victim! or Blade of the Ripper. Although listed on imdb.com as being 81 minutes long, Strange Vice actually runs 97 minutes (and could have used a little trimming frankly). Still, it's an intriguing giallo film under any title. There is a terrific sequence in an underground parking garage where the killer pursues Julie, and another suspenseful sequence in the gardens of the Schonbrunn Palace. And, of course, the umpteenth shower murder sequence, although this is not done with much elan. Sergio Martino's direction is adequate but not exactly stylish. 

Ivan Rassimov

Edwige Fenech, who made a career starring in movies like this and stripping to her birthday suit at the drop of a hat, is adequate as the unsympathetic heroine, but she was never hired for her acting skills. Born in Uruguay, George Hilton has a certain presence and appeared in a large number of foreign productions, as did Ivan Rassimov, who was actually born in Italy. He was also in Planet of the Vampires. Sergio Martino also directed Torso. 

Verdict: A twisty and unpredictable script will keep you guessing. ***.  

DEXTER: NEW BLOOD

Father and Son: Michael C. Hall and Jack Olcott

DEXTER: NEW BLOOD (2021 Showtime mini-series).

Dexter ran for several seasons and was certainly an unusual series. The anti-Hero, Dexter Morgan (Michael C. Hall), was a serial killer who only murdered people who really deserved it, such as other serial killers, child molesters, or those who had gotten away with murder. His task was made easier because he worked for the Miami police department, and part of the "fun" of the show was watching him stay one step ahead of his colleagues, especially his detective sister. The show ended with Dexter presumed dead, but turning up far north in a small town in upstate New York.

Olcott, Hall and Jones

Dexter: New Blood takes up a decade later, when Dexter, under an assumed name, has become firmly established in the small town of Iron Lake. The utterly far-fetched premise has him becoming the boyfriend of -- get this -- the female Chief of Police, Angela Bishop (Julia Jones)! You would think that our dear Dexter would want to stay as far away from the police as possible, and if he had this mini-series might have had a very different conclusion. Another complication is that Dexter's son, Harrison (Jack Olcott, a 21-year-old actor successfully playing about 16), finding out that his father is alive, comes looking for him. But does the boy carry his own "dark passenger," and exactly how much does Dexter want to share with his son? And considering the number of women who have disappeared from Iron Lake over the decades, could there be another serial killer at large, and will he or she wind up on Dexter's kill table?

Like the original show, Dexter: New Blood is extremely entertaining, well-acted, and suspenseful. It also has a satisfying, dramatically-right conclusion, although it will undoubtedly disappoint those who were hoping to see another mini-series about Dexter. Michael C. Hall is superb as the conflicted, confused, morally ambiguous Dexter, and he is matched by Olcott as Harrison, who clearly has problems of his own. Jones, Jennifer Carpenter as Dexter's late sister (appearing in fantasies), Clancy Brown in a fine turn as respected townsperson Kurt Caldwell, Alano Miller as Coach Logan, among others, all help make the occasionally absurd proceedings more convincing. The series is also unpredictable, and may not go in the directions you think it will. Dexter: New Blood can be gruesome at times, but nothing over the top, and there are no scenes of (practically) lip-smacking torture porn like you will find in Criminal Minds: Evolution. Pat Irwin's theme music is a decided plus. 

Verdict: Surprisingly moving wind-up to the strange Dexter saga. ***. 

CURSE OF CHUCKY

CURSE OF CHUCKY (2013). Writer/director: Don Mancini. 

Nica (Fiona Dourif), who is in a wheelchair due to a condition she was born with, lives in an old house with her mother. When her mother is brutally murdered, Nica's sister, Barb (Danielle Bisutti of Insidious Chapter Two), suggests she go to a special home and they sell the place, as she and husband Ian (Brennan Elliott) need the money. Ian doesn't know it, but Barb is having an affair with their daughter, Alice's, nanny, Jill (Maitland McConnell). Nica comes to realize that there may be something strange and sinister about little Alice's doll, Chucky. The family priest (A Martinez) is killed in a grisly auto accident, then other people in the old house also start dying as Chucky -- or rather serial killer Charles Lee Ray (Brad Dourif) -- gets his long-awaited revenge on the family. 

Curse of Chucky is better than the Child's Play sequels, including Bride of Chucky and Seed of Chucky. For the most part Curse eschews the camp approach of the other Chucky flicks until the very end when -- alas -- Jennifer Tilly shows up again. Until then, Curse is suspenseful and creepy. Some of the gore is overdone, of course -- far too many modern-day horror directors rely too much on blood and guts instead of building suspense -- but Curse delivers some of the scares and creepiness that true horror fans enjoy. The acting in this is also very good -- Fiona Dourif is the daughter of Brad Dourif, and eventually she would sort of play Charles Lee Ray; Father Dourif's voice acting is excellent. The cinematography (Michael Marshall) and music (Joseph LoDuca) are also top-notch.

Verdict: Little Chucky has a pretty good vehicle in this. ***.  

ROBERT BLOCH'S PSYCHO SANITARIUM

Robert Bloch's PSYCHO SANITARIUM. Chet Williamson. St. Martin/s/Thomas Dunne; 2016.

After Norman Bates has been arrested for the murder of Mary Crane and private eye Arbogast -- as related in the novel "Psycho" -- he is placed in a sanitarium for the criminally insane. There he hardly says a word, but one of the kinder doctors, Reed, and a lovely nurse, Marie, are able to do a lot to draw him out of his shell. On the other hand, the head nurse and chief attendant, busy having an affair, are less sympathetic toward all of their charges, Norman included. The head of the institute, the opera-loving Dr. Goldberg, is an old-fashioned headshrinker who thinks electro-shock therapy, now in disfavor, is a preferable method of treatment. Norman gets a surprise when Dr. Reed tells him that his heretofore unknown half-brother Robert is here to see him. Initially overjoyed to discover that he has family, Norman is afraid that Robert is responsible when some of the staff and patients in the institute start disappearing. 

This suspenseful, well-written chiller takes Robert Bloch's characters and concepts and runs with them in a very satisfying mystery with a well-developed Norman Bates. Williamson also comes up with a number of clever twists. The "literary" Norman Bates is chubby and middle-aged, but Alfred Hitchcock turned him into a younger and more attractive fellow in his classic film version. This book keeps Norman as Bloch intended him to be, a variation on the real-life serial killer Ed Gein. This is certainly one of the best of the sequels to Bloch's highly-influential storyline. 

Verdict: Creepy, well-constructed, and absorbing. ***1/2. 

LAST CALL

 LAST CALL: A True Story of Love, Lust, and Murder in Queer New York. Elon Green. Celadon Books; 2021. 

This excellent book looks at a horrifying series of murders of gay men in the 1990's and unfolds almost like a suspense-thriller as the author delves into the lives of the victims, and finally the killer, a male nurse who lived on Staten Island. Although apparently not gay, Green did enough research and interviews to get a sense of the gay bar scene at the time, and views all of the murdered men with compassion; they are not simply dismissed as can happen in other true-crime volumes. Green also looks at the many people investigating the crimes, the extreme homophobia of the period (especially due to AIDS), and the calls for a more intense look at the killings by such as the National Gay and Lesbian Task Force and Anti-Violence Project. As the killer refused to do interviews with Green, we are not able to fully understand this monster, but can such people ever be fully understood?

Back in the day I frequented such bars as the Townhouse and the 5 Oaks, where some of the victims were regulars, and one of these poor men was a bar acquaintance that I saw virtually every time I went into the Oaks. I remember coming back from Boston and seeing this man's photo, along with the words serial killer in the paper, and was shocked. At first I thought the article was naming him as a killer, but it was worse -- he was the victim. None of the men who were killed deserved their fates. But at least their murderer was put away for life.

In the book the author wonders why these series of terrible murders have been virtually forgotten. I think the answer is that there have, unfortunately, been so many other serial killers since then who have captured the public's imagination. That the victims were gay men may also have played a part. Plus all the other things that have happened since the period captured in the tome. When you read books like this you realize that all of those movies about mad psychotics slaughtering people are in incredibly bad taste.

Verdict: Outstanding true crime story. ***1/2. 

WHEN THE BOUGH BREAKS

WHEN THE BOUGH BREAKS (1994). Written and directed by Michael Cohn.

Captain Swaggert (Martin Sheen) investigates when the severed hands of several children are found by police. Swaggert brings in Special Investigator Audrey Macleah (Ally Walker) to help with profiling the perpetrator, but the trail leads instead to a mute young man, Jordan (Tara Subkoff), who is in an institution and seems to have some connection to the hands. As the police follow different leads, Audrey discovers that Jordan has a twin, Jennifer (also played by Subkoff), and that things in the past -- and an old, seemingly abandoned house -- may unravel the answers that Audrey seeks, if she survives that long ... 

Ally Walker

When the Bough Breaks plays a bit like a TV show, but that may be because former Clairol girl Ally Walker also played a profiler, and the lead, in the series Profiler (1996 - 1999) -- she probably got the part because of her performance in this movie. While she is by no means terrible, and has some good moments, I'm not completely sold on her, either. Another problem is that some of the sequences between Audrey and Jordan border on the inappropriate and seem a mite ridiculous. Martin Sheen isn't given an especially interesting part in this although Ron Perlman makes more of an impression as the twins' father. There is a creepy and violent climactic confrontation in a basement, but otherwise this is just too ordinary to recommend. As I watched I kept thinking Dario Argento could have turned this plot into a very satisfying giallo film, but no such luck.   

Verdict: Just not good enough on any level. **1/2. 

AMERICAN PREDATOR

AMERICAN PREDATOR. Maureen Callahan. Viking; 2019. 

While you've heard of Jeffrey Dahmer and Ted Bundy, you may not have heard of serial killer Israel Keyes, whose career was ended after he kidnapped a young woman from a coffee kiosk in Alaska before murdering her. After Keyes was caught, it developed that he had been responsible for other deaths and disappearances in previous years, including a middle-aged couple that he raped (both of them) and slaughtered. Author Callahan looks at the investigation into Keyes activities, focusing on how a prosecutor named Feldis insisted on doing the interviewing of Keyes even though this was a serious breach of professional conduct and that he was not very adept at it.

Two portraits of Israel Keyes

Callahan looks into the bisexual (as he described himself) Keyes' background, as well as into his bizarre early family life, which might have driven anyone crazy (not that his actions were in any way justified). Keyes had a relationship and a child with a woman named Tammie, then became engaged and lived with another woman who had no idea of what he was up to. He kept "kill kits" hidden in various places that he might use when the proper circumstances and victims presented themselves and he was in a sadistic mood. Callahan suggests that Keyes might have been allowed to kill himself in prison. 

Verdict: Horrifying story of one sick individual, but somehow this is not a classic true crime book and probably not the last word on Keyes. **1/2. 

NEVER SEND FLOWERS: JAMES BOND

NEVER SEND FLOWERS. John Gardner. Putman's/Berkley/1993. 

This James Bond adventure was promoted as "007 hunts a serial killer!", serial killers being very much in vogue at the time in popular fiction. While the ultimate villain in this -- a deranged actor named David Dragonpol -- does kill several people, the only real "serial killer," a murdered woman's brother, is out of the picture when the story begins. Bond meets and works with a Swiss agent named Flicka von Grusse, whom he eventually develops deep feelings for. Dragonpol has built a museum inside his mansion which recreates different periods in history via the use of holograms and animatronics, so it's no wonder that his ultimate goal is to kill Princess Diana and her boys when they take a trip to EuroDisney in Paris. 

Although most of Gardner's Bond novels seem well-thought out and well-constructed, this time Gardner seems to have written the book on the cuff, with little pre-planning, giving the whole thing a haphazard and perfunctory feel. It is the weirdest James Bond novel ever written, culminating in an utterly ridiculous scene when Bond fails to spot Dragonpol at a key moment, making 007 seem incompetent.  Never Send Flowers is still entertaining and has some suspenseful moments, but if you want to sample Gardner's Bond, this is not the novel to start with. Read License Renewed instead. 

Verdict: 007 treading water. **1/2. 

HANGMAN (2017)

Karl Urban and Al Pacino

HANGMAN (2017). Director: Johnny Martin.

Detective Will Ruiney (Karl Urban), whose wife was murdered, is a former FBI profiler now working with the NYPD. Ray Archer (Al Pacino), a retired cop, agrees to help Will investigate a series of baffling murders wherein various people are killed and hanged, murders tied into the old "Hangman" game played by children. Traveling with them as they interview people, visit crime scenes, and nearly trip over corpses, is reporter Christi Davis (Brittany Snow). A person is murdered every 24 hours, and the detectives race against time to prevent each new slaughter. 

Brittany Snow

Hangman has an interesting premise, but it just doesn't stand out as a classic serial killer film, especially when compared to tauter moves like Se7en and Copycat. Pacino, who is the only actor billed above the title, employs the same dubious Southern jive/drawl that he used in his last thriller, Misconduct, and it adds nothing to his comparatively disinterested performance. Urban is a bit better, and Snow has at least one good scene when she tells of how she was assaulted and the cop who came after her assailant was shot and killed. Otherwise, her character doesn't add much to the movie.

There is at least one exciting scene, when Will tries to save a man who has been placed, hanging, over a track as a train approaches, and Ray, realizing there's not enough time to do so, opts to save Will instead. Hangman has a workable premise, and is not badly directed or photographed, but despite some back story, the characters are thinly etched, the victims are mostly ciphers, and the killer, with his dubious motives, never emerges as a villain of classic proportions. 

Verdict: Another mediocre Al Pacino "paycheck" movie. **1/2.