ＢＴＫ キラー

1974年から1991年にかけて10人以上殺した連続殺人鬼デニス・レーダー。
彼は自らを、Bind＝縛る、Torture＝拷問する、Killer＝殺人者の頭文字をとり、メディアに対してBTKと名乗っていた。
教会では重要なポストにつき、良き夫であったレーダーの事件をモチーフに、殺人者の心理を描き出すサスペンス・スリラーです。
監督を務めたのは、ドイツ出身のウーリー・ロメル。
殺人鬼に襲われる悪夢に悩むニュースキャスターのレイシー。彼女のもとにはビル・ト－マス・キルマンと名乗るBTKキラーから、自分のことを公表するように脅迫文が送られてきていた。
テレビ局側は、レイシーの反対を押し切って、視聴率のためにその要求を飲むことを決断する。
その頃、ニュースを自宅で聞いていたひとりの男が、自分の犯罪記録を思いだそうとしていた…。
監督・製作・脚本：ウーリー・ロメル／音楽：ロバート・Ｊ・ウォルシュ
出演：ジェラルド・グリスバーム、エリック・Ｂ・ゲールマン、ヴィクトリア・ウルマン、シャラ・ファーナンデス 他
2005年 / アメリカ


実在の人物をモデルにした映画なんですが、これまた評判悪しw
本当に最近はこういった説明がない、怒涛のように映像が押しかける映画の見方を知らない人が増えたんだな…と、感想を読んでつくづく思いました。

このデニスが育った環境が詳しくわかっていないのでよく判らないのですが、どうにも典型的なシリアルキラーだったようです。
偏見だといわれるのを覚悟して書きますが、
こういった趣向のある人物がトサツ場（今は差別語に当たるそうです）近くで育った、あるいは勤めていた。
それはその趣向を強幅させることになります。
あと、この映画で描かれているように宗教に倒錯していたことは事実らしいのですが、もし彼の告白どおりで母子家庭でその母親が宗教に倒錯していたのならば、虐待があったと考えてもいいでしょう。
今と違って、虐待に対しては理解のなかった時代です。
戒律に厳しいと、あれをしてはいけない、これをしてはいけない、女の子と付き合うことは罪悪だ、などと言っては体罰を与えていた可能性があります。
抑圧された性的欲求はゆがみ、虐待によって人格がゆがむ。
母親を憎むことによって、女性嫌悪が始まる。
あるいは父親がそうであり、女性に対しては何をしてもいいというものが心奥深くに刻まれてしまう。
シリアル・キラーではこの手の環境が結構多いのも事実なのです。


デニス・レイダー(Dennis Lynn Rader 1945年3月9日) K-タイプ(24分類：KE)
BTKキラーとして知られ、1974年～1991年の間に10人も殺害したシリアルキラー。
2005年8月18日　禁固175年の判決が下る。



はっ、映画の感想じゃねえw

たぶん、向こうでもあまり彼の真実がわかっていない（彼自身の告白による経歴は嘘ばかり。事実だったのが空軍に勤務していたことだけ）のかもしれませんが、唐突に終わったいう感がぬぐえません。
彼の育った環境などが一切描かれていない、よって彼があれほど宗教に倒錯していた時期に無犯行でいられたのはなぜかわからない。
性的夢想（sexual fantasies）の実現が動機だったようですが、なぜ8年のときをえて再犯2件、また5年の歳月を明けて1件の再犯を犯したのか。
そのあたりの心理が描かれていないので、本当に快楽殺人としてだけしか描かれていません。
後、ストーリー案内であるアナウンサーの女性のからみがうるさすぎるかな…。
そのあたりの彼の執着心が描かれていなかったので。
自己顕示欲の塊の男が選んだ、自己を知らしめるために選んだ使途としては弱い気が…。
後、この手の顔が本当に好きなんですねー、監督。


とにかく、快楽殺人者、隣のよき隣人は多重人格の連続犯だった。
って感じでした。
シリアル・キラーの視点から描いた映画なので、もうちっと女性アナウンサーがおびえてみる夢じゃなくて、共鳴を起こしているなら起こしているで、もっと彼の深層心理に迫った夢として描いて欲しかったですね。

続き▽

「ザックとミリのポルノ製作」

評価は7/10
トレーラーを観る限りでは、ポルノを撮るときの企画とかオーディション、撮影時などを描いたコメディー映画のようです。
どうってことなさそうなんですがやはり一応、R指定。

トレーラーにはBJの姿は見えませんでした。
出演は確実にしていますので、見落とし？
この分だと、ちょい役かカメオ出演ってところかも…？
でもカメオだと、箔をつけるため、話題性のためなどがあるのでトレーラーに顔を出すはずなんですが…。
うーん、やはり見落としなのでしょうか？？
オーディションを受けに来て、どじを踏んであわてまくってズボンをずらしてそれに引っかかってけつまずいて、ひっくり返る役とか？
(　´_ゝ｀)


Zack and Miri Make a Porno Review - October 30, 2008, Movies Reviews
There's no denying that in person, Smith can spin a yarn like a potty-mouthed, latter-day Truman Capote; his public appearances and interviews are priceless affairs because he's seldom bound by the limits of time, structure or good taste. But those are all of the considerations that come with making movies, and they're the shackles which undermine his more considerable talents - which is why his latest, Zack and Miri Make a Porno, works best when it's unrestrained from capital-S storytelling and obligated only to cracking jokes, chronicling mundane experiences and making a few modest observations about human nature.


Zack and Miri Make a Porno Review
Smith's latest is satisfying, but suggests his strength for off-screen storytelling.
by Todd Gilchrist

October 30, 2008 - There's an argument that fans of Kevin Smith have been making for several years now noting the director's greatest strength is that he knows his own limitations. And superficially, he does. Smith famously (and admittedly, smartly) declined to helm a Superman reboot because of producer Jon Peters' outrageous demands, but he has subsequently turned down chances to take on other comic book properties and generally refused to tackle anything that requires him to venture outside the insular New Jersey fiefdom he created in 1994 with Clerks. While I see this as a sort of professional resignation, others see this as a sign of artistic continuity since he deals with similar characters and stories time and again without changing his approach or -- it must be said -- the end result.

But how is it possible that given this zenlike sense of acceptance over his shortcomings, Smith doesn't realize that his strengths as a storyteller have nothing to do with his strengths as a filmmaker?

There's no denying that in person, Smith can spin a yarn like a potty-mouthed, latter-day Truman Capote; his public appearances and interviews are priceless affairs because he's seldom bound by the limits of time, structure or good taste. But those are all of the considerations that come with making movies, and they're the shackles which undermine his more considerable talents -- which is why his latest, Zack and Miri Make a Porno, works best when it's unrestrained from capital-S storytelling and obligated only to cracking jokes, chronicling mundane experiences and making a few modest observations about human nature.


The film stars Seth Rogen as Zack, a do-nothing barista who lives with his high school buddy Miri (Elizabeth Banks) in an apartment whose power and water they can barely afford to keep running. While preparing for their 10-year reunion, a coffeehouse patron captures cell phone footage of Miri in a pair of enormous underpants which subsequently becomes a minor sensation as a Youtube-style clip. When even their former classmates turn out to be familiar with "Granny Panties," as the clip is called, the pair decides to try and shoot an actual film, this time to earn enough money that they can pay their bills and stay in their apartment. Enlisting Zack's coworker Delaney (Craig Robinson), Zack and Miri hire an ensemble of local actors to shoot a porno movie; but as they get fired up about the prospect of f*cking on camera, the roommates begin to realize that they may have feelings that run deeper than mere friendship.

Although I've never been a big fan of Smith's films -- and in fact I think he's an absolutely terrible director, visually speaking -- I have a soft spot for several of his past works, in the same way that one might appreciate his best friend's home movies. Mallrats was a watershed experience for me in college, and while it has not aged especially well, it reconfirmed the strengths he displayed in Clerks as a storyteller, specifically his ability to mine both humor and human insight out of virtually any average situation. Zack and Miri is similar in that it reminds both his fans and critics that he can create great moments of sensitivity and intelligence, even if he still can't connect them to a narrative that is equal to them.

It of course helps that Smith employs as his leads Rogen and Banks, two up-and-comers with loads of charm and charisma. While the characters are clearly patterned after the hyper-articulate motormouths of his previous efforts, the actors find a sincere and distinctive way to play their roles that doesn't sound like they're merely aping their director. And the burgeoning romantic relationship between them achieves a genuine poignancy even when the two of them are forced to stumble through the rote measures of a breakup-makeup climax that felt hackneyed a hundred romantic comedies ago.

Meanwhile, Smith populates the supporting cast with both new and familiar faces, including Robinson as their dim-witted partner Delaney, Brandon Routh and Justin Long as gay porn stars who instigate Zack and Miri's descent into adult filmmaking, and stalwart cinematic companion Jason Mewes as one of the film-within-a-film's able-bodied performers. While Routh and Long steal the few scenes they are in, Robinson absconds with the rest of the movie, elevating what would otherwise be a series of racist tirades into faux-aggressive demonstrations of Delaney's nervous, henpecked ambition. And though her portrayal seems potentially dubious in much the same way Tarantino might lace a black character's dialogue with the n-word for authenticity, a foul-mouthed Tisha Campbell-Martin convincingly gives Robinson a spouse to fear as his overbearing wife in the film's final scenes.


As far as the film's sexual content is concerned, Smith handles most of it with a fairly deft comedic touch, although it's not always clear if he means for the sex to be funny (excepting one that climaxes, so to speak, with someone's face full of poop). While most of the diddling is too broad or silly to be taken seriously, one scene in particular is handled especially well because it conveys real, shared sentiment -- something that Smith possesses in spades as a storyteller, but seldom demonstrates effectively on film. All of which is why Zack and Miri Make a Porno is best examined as a series of unrelated sketches: in single-serving, independent doses, Smith creates real magic by making smart observations in ordinary situations. But as a whole, nothing works together or builds to a believable dramatic crescendo.

And whiel, as a director, Smith tends to wear his heart on his sleeve, he does feel like a seasoned parodist who one day realized he could make more money designing genre pictures than deconstructing them. He's so smart, insightful and aware of the process of putting all of these conventions into motion, his determination to do it himself seems canned, and the end result feels insincere.

In this case, that modest achievement is certainly enough to preserve the boundaries of his insular fiefdom, but it's just another reminder that Smith acknowledges his limitations without doing the same for his strengths. Zack and Miri Make a Porno is not a great movie, but it's by and large a successful piece of entertainment -- which suggests that eight directed works and 15 years into a career, his best stories still reside in his head instead of on the silver screen.