9 Merciless Serial Killer Movies That Every Hardcore Horror Fan Needs to See
1. Snowtown (2011)
Why you should watch: Snowtown (also known as The Snowtown Murders) presents Australia’s most notorious killing spree with grim realism and a no-holds-barred display of graphic violence. This movie will reach into your mind and …
When you’re in the mood for: A bleak and psychologically disturbing true story with an all-consuming sense of dread that will leave you rattled for days.
2. Dahmer (2002)
Why you should watch: A creepily mesmerizing Jeremy Renner delivers an unforgettable performance as one of the most brutal serial killers of all time.
When you’re in the mood for: The chills and unsettling terror that comes from seeing inside the mind of a psychotic killer (but without all the gore).
3. Henry: Portrait of a Serial Killer (1986)
Why you should watch: Simply put, it’s the movie that caused the MPAA to famously tell filmmakers that absolutely no recut of the footage could lead to an R rating. The terror comes from more than just the graphic scenes, it’s in the movie’s blood.
When you’re in the mood for: A low-budget but impressively realistic depiction of a deranged serial killer that aims to shock and disturb.
4. Martyrs (2008)
Why you should watch:Martyrs is a brutal and relentless film about abduction, torture and revenge that leaves most viewers divided. However you end up feeling, you won’t escape Martyrs without an opinion.
When you’re in the mood for: An unconventionally mind-bendy and gruesome tale that covers many subgenres of horror and always keeps you guessing.
5. Peeping Tom (1960)
Why you should watch: Everyone knows about Psycho, but far fewer have seen the cinematic masterpiece of voyeurism known as Peeping Tom. Originally, the fact that it was told from the perspective of the killer scandalized the entire United Kingdom and destroyed the career of the previously revered director. These days, it’s considered a must-see predecessor to the slasher genre.
When you’re in the mood for: An influential classic that pioneered the kind of psychological horror and voyeuristic camera work we’ve become so used to today.
6. Maniac (2012)
Why you should watch:Maniac compellingly features first-person point of view filming that, like Peeping Tom, forces you to see through the eyes of a killer. It’s the kind of gruesomely violent movie you put on when you’re trying to add some style to your stomach-churning experience.
When you’re in the mood for: A remake that exceeds the original with a commitment to more experimental filming and a seemingly never-ending supply of gore.
7. Chained (2012)
Why you should watch: Chained explores what happens when a kidnapped little boy follows the instructions of a serial killer in order to survive. It has a strong (but hard to swallow) message about violence that will definitely end up causing conversation.
When you’re in the mood for: A movie that will disturb you with the human side of a serial killer and a claustrophobic environment of abuse.
8. The Midnight Meat Train (2008)
Why you should watch: With the same in-your-face tone as its title suggests,The Midnight Meat Train makes for a tense, bloody, and surprisingly well-crafted ride-along with a psycho killer. Some people have hated the ending, but even the critics found enough excitement along the way to make this a worthwhile trip.
When you’re in the mood for: A visually sophisticated and straight-forward thriller with over-the-top kills and a maddening pace.
9. M (1931)
Why you should watch: Without M, there would be no Psycho or Silence of the Lambs. Even for those who don’t care about its influence, M is an engrossing and deeply unsettling film that creates one of the most tense atmospheres ever on screen. For history buffs who see horror as a window into the social dynamics of a time period, M is also a fascinating dissection of mass hysteria in pre-World War II Germany.
Gundam Creators Interview: Yoshikazu Yasuhiko From Girl’s Gundam (Pub. Date 9/23/2009)
Amuro Ray, Who Might Have Been Japanese Women have such a myriad of ways of enjoying a work. It’s truly commendable. Any time I try slipping things in to appeal to them specifically, it proves entirely unnecessary (laughs).
Gundam was a project where the character designs were settled on very easily. A big-eyed boy with curly hair who wasn’t cheerful or, frankly, especially handsome… in other words, an anime hero quite unlike the ones who had come before him. When Tomino, the director, approached me with this concept for the lead, I had already been imagining such a character. It was as if we had read each other’s minds, and Amuro’s design was quickly finalized.
Since Amuro wasn’t going to be handsome, we decided to make his adversary Char Aznable good-looking instead. This move was inspired by Sharkin of Raideen (a show Tomino and I had worked on previously) who had been well-received by female fans; through him I learned villains could also make a strong impression. But since being attractive by itself isn’t interesting, Char needed an individual element to distinguish himself. Thus, the mask to conceal his face. This had the added benefit of giving him an air of mystery! Call it haphazard or superficial of us (laughs).
As for Bright Noa, he’s nineteen but mentally much older. Role-wise, he’s the middle management type. So I gave him his hairstyle imagining he’d develop a widow’s peak in a few years (laughs).
The biggest factor behind us being able to design the cast so freely was the TV programming agency getting lax with their inspections. Normally they’d go over everything and make demands, like: The hero must be Japanese! He must be handsome and he must be cheerful! But with Gundam, they let it all pass. I had even thought up a backup setting for Amuro that changed the Ray in his name to Rei and listed his birthplace as being in the mountains of Shimane, but we didn’t up needing it (laughs). On the subject, the characters of Mirai Yashima and Hayato Kobayashi came from this hidden agenda of wanting to portray the Japanese in supporting instead of starring roles for a change. That’s also why they’re shorter and plumper, with smaller eyes (laughs).
Regarding the costumes, I tried to add some fun touches. I felt that the Federation uniforms would look unappealing if the colors were too military-like, so I went with a 19th century-esque, French Tricolore-inspired overall palette. In contrast, I gave the Zeon uniforms more traditional coloring, hoping to evoke the image of pre-war Germany; less Nazi, more Prussian. I wanted outfits that kids could cosplay by dressing up their school uniforms. I even hoped the really dedicated girls would do pair looks with their boyfriends (laughs). And sure enough, the cosplayers appeared. I remember ecstatically exclaiming: “Yes! There they are!”
A Work Becomes Appealing The More People Play With It Looking back, Gundam came out during the transitional period when anime was moving away from the standard hero route of story-telling. So while it’s a military drama, there are still some unrealistic bits. Take Char’s cape, for example. I wanted him to wear one, but if it were too long, it would look cartoonish… so I made it waist-length. As for his helmet, those horns serve no purpose beyond being dangerous, but I figured an anime character requires some extra ornamentation (laughs). I troubled myself over these details a lot, and even taking the middle road, things got messy (laughs).
But there were people who had fun with such details via parody. I remember them calling Char’s cape ‘The Cockroach Mantle’ and remarking on how he looked ‘pretty adorable’ scurrying away from battle in it (laughs). Garma, the narcissist rich boy, got called cute and became far more popular with female fans than we anticipated. Even the freckled weakling Kai had admirers. As for Amuro, many girls said he was the kind of character they couldn’t leave alone, that they wanted to take care of him.
This was around the time light parody doujinshi culture, which included yaoi, was growing with women at the base. It was completely unlike the old-mannish parody works being made up until then. It was fresh, and took me by surprise. Some were angered by it, claiming it made a mockery of the source material, but I didn’t think so. It was brand-new culture. So while keeping in mind issues of copyright, be it parody, fangirling, yaoi or cosplay… I’d like to encourage everyone to continue enjoying Gundam in their own unique way.
Opel Kadett Roadster Strolch, 1938. A prototype for a convertible version of the first generation Kadett. A shortage of steel in pre-war Germany and concerns that it would not sell in viable quantities prevented the car being produced. The car in the colour photographs is a replica, based on the car in the black and white photographs, which was built by Opel engineers
HISTORY OF POLAND IN 10 STEPS: #8 People’s Republic of Poland Photo:
Priest splits beating of Solidarity protesters by paramilitary police, Warsaw, People’s Republic of Poland, 1982
World War II devastated Poland. 5 million inhabitants of pre-war Poland were killed,
many of these casualties were the result of the deliberate
extermination of the Jewish and Polish elite. Warsaw – the capital of
the Second Republic – was virtually burned to ground. As a result of
post-war peace conferences, Poland lost the majority of its eastern
territories but was compensated with some industrial regions of pre-war
Germany on the west – it literally moved around 100-150 kilometres
westwards, which brought on the necessity of resettling 2 million people!
Poland was to be rebuilt yet again, this time under a severely
anti-democratic communist regime with an inefficient economic system.
This, accompanied by robust political and cultural isolation, made
Poland’s reconstruction much slower than those of Western European
Constant economic stagnation, shortages in the supplies of basic
goods, and a lack of political freedom and free media, as well as the
frequent abuses of power of the political elites,
marked the communist period with great social unrest and protests, always brutally suppressed by the establishment.
begin: In Demian, we see over and over again the images that are portrayed in the short piece with Jungkook. Emil Sinclair, the main protagonist dreams extremely vivid dreams involving multiple other characters (ie Demian, the mysterious new boy with the face and demeanor of a grown man). Sinclair has a multitude of dreams that have underlying patterns that include symbolism of sparrow hawk, a bird that connects Demian to Sinclair (Demian notices Sinclair has the mark of cain [a biblical reference to a certain ~mystical aura about him]). Sinclair grows to understand that these dreams are certain pieces of his identity that tie him together. First he dreams of Demian, then he dreams of the sparrow hawk, and finally of the woman that seems like Demian but is not quite Demian (which later turns out to be Demian’s mother [and furthermore a representation of Sinclair himself]). He finds himself with the urge to paint and paints these images that come to him in a dream. There is a distinct scene where Sinclair sees the sparrow hawk in a dream, paints a picture of it and quickly mails it to Demian. During the setting of the book, or pre-World War I Germany, there was a time of unrest caused by the impending and tumultuous warring era to come, so many youth were plagued by the fear of eventually having to serve in battle.
In begin, Jungkook is Sinclair. He is plagued by his dreams and his inability to follow them. He has cryptic dreams and conversations in his head. I think that the car crash sound is a metaphor for the impending doom that there is to come (paralleling to the impending doom that is World War I in Demian). He wakes up from his dream and stares at the painting and there is a scene where the painting seems to be shedding tears. I think Jungkook is seeing himself the way Demian eventually saw himself in his own paintings. This is a metaphor for growing up and into one’s own self. We see Jungkook going through the exact motions Sinclair goes through as he takes his picture of the sparrow hawk and stuffs it in a letter. The teaser ends with his wings spreading wide as his loss of childhood and growth as an adult continue.
lie: in demian, the dichotomy of two worlds is strong and we see that there is a stark contrast between good and evil and i think lie was named what it is to highlight the particular event in demian where Emil Sinclair is antagonized by Franz Kromer. Sinclair, not wanting to be an outsider, makes up a story about stealing apples and Kromer blackmails him, knowing that Sinclair’s story is false. Sinclair feels a huge feeling of guilt and shame, having previously been an untainted Christian church boy; he now was a devil worshipping liar. These feelings are further exacerbated when he arrives home with his shoes sullied and his father scolds him for bringing mud into the house. The fact that he had done something worse beyond tracking mud into his house gave him a sense of superiority over his father, causing him to feel this feeling of individualistic growth for the first time. The temptation of the realm of the evil has spread in his soul causing him to believe that he has released a demon of sorts within himself.
in lie, jimin represents the dichotomy of two worlds in the eyes of Sinclair. Here is he stuck between two realms, the realm of the good and pure and the realm of evil and crude. The in between period between two extremes. Again we see the piano on fire, a theme between the two teasers.
stigma: In demian, Emil Sinclair has a scene where he runs into Alfons Beck, a schoolmate of his. Beck teaches Sinclair about the seedy parts of life including the debauchery of going out with your best mates and having wild nights barhopping and going on sexual pursuits. Sinclair eventually succumbs to a life of debauchery and almost gets expelled from his boarding high school. His father comes to him twice to beg him to set himself straight, yet he does not. One day while walking in the park, Sinclair sees a girl, who he names Beatrice, and begins idol-like worship. He praises her and puts Beatrice on a pedestal and worships her as his ideal. Sinclair, at this point, is stuck in one place mentally AND losing his innocence at a rapid speed.
We see this debaucherous theme carried through over to stigma, wherein Taehyung is seen vandalizing. Moreover, as he is caught and rebuked, he does not apologize nor feel guilty, he is simply numb like Sinclair was at the time, confused and motivated by Satan, he continues his rampage only to eventually get caught by the police. It then cuts to him tending to a female, who I assume is the parallel to Sinclair’s Beatrice. The teaser ends with Taehyung in a cage with a puppy, whom he lets go of. This is a clear allusion to Sinclair’s loss of mental health and innocence.
first love: In demian, Emil Sinclair meets Pistorious, a theologian and son of a pastor. Pistorious plays Bach in a dimly lit church that Sinclair happens to stop by. As Sinclair nostalgically recalls the past, he sits down to listen Pistorious. One day he follows Pistorious to a bar and talks to him about Abraxas. They worship Abraxas (the God of all things both good and evil) together and Pistorious serves as a sort of mentor to Sinclair. Pistorious says that he “cannot consider prohibited anything that the soul desires”. Frequently, Pistorious and Sinclair sit down to do ‘fire worship’, where they light something on fire and watch the images that the fire and smoke conjure. Later, Sinclair says something to Pistorious that creates an awkwardness that destroys much of their friendship.
In first love, we see Yoongi breaking and entering a room with a piano, similar to the organ that Pistorious plays. Pistorious knows so much, yet also knows very little, for he is old and antiquated with his ways. Yoongi is Pistorious as he serves as a mentor to Jungkook, however as they continue to do fire worship together and spend time together, Jungkook(Sinclair) grows past and beyond what Yoongi (Pistorious) has to offer. The car crash symbolizes Jungkook no longer needing Yoongi.
so did yoongi die? yes or no? the answer is simple: neither. he is neither dead nor alive, for the dichotomy of good and evil balance each other out. at the end of demian, as both Sinclair and Demian are sent off to war, one day while Sinclair is standing guard, he and his troop are attacked, he is wounded and when he is in a safecamp getting aid he dreams (though he feels that it is real) that Demian is there to say his last words. Hermann Hesse establishes by this point that Demian is mystically connected to Sinclair (by the mark of cain). In reality, Demian died in battle that day and Sinclair felt that through their connection, but by this point in Sinclair’s life, he’s taken Demian and made Demian a part of himself. Thus, Demian may have physically died, but his role as a part of Sinclair lives on, in duality like much of the rest of the dichotomy of this novel. Jungkook is able to take the death of yoongi as the growth of yoongi within him, so yoongi is not technically dead, though he is tangibly dead.
“No battle in history,” wrote British historian Alistair Horne, “was to be more of a ‘soldier’s battle’ than Verdun, and it was to be these humbler creations - more than the Joffres and Falkenhayns - that were to be its principal actors.” The clash between France and Germany was the war’s principal conflict, one that had already been horrendously bloody in 1914 and 1915. At Verdun in 1916, however, both armies were at their peak fighting strength. Here the final death struggle between them began. Here is the state of the German Army as it prepared its attack on Verdun.
In 1870, the victorious Prussian Army was a rapier, finely-tuned and capable of out-maneuvering its opponents. In 1914, the army that invaded France as by contrast a large and unwieldy bludgeon, a machine of brute force smashing its way to Paris. On the Marne, its advance had been halted, but two years of trench warfare and honed it into a excellent fighting machine, and supremely confident of victory. Though civilians in Berlin were starting to tighten their belts, shortages did not yet affect the army at the front. The German force amassing on the Meuse in February 1916 was an army at its peak.
The Kaiser’s army was not one but many, an amalgamation of royal armies that were retained after the unification of the German Empire in 1871. Prussians, Bavarians, Saxons, Württembergers, Hessians, Hanoverians, Brunswickers and the forces of many lesser regions marched under their own flags, though not all shared Prussia’s fighting spirit: the Saxons in particular detested their overlords and preferred not to fight when possible.
Even so, fighting spirit was high and martial abilities skilled. A German citizen began his military service at seventeen, and would not be done before he was forty-five, staying on as a reservist. The Army was the premier institution in Germany, beloved by the Kaiser over all else. Mirabeau’s quip that Prussia was an army that happened to possess a state still rang true. At its highest level, the General Staff commanded and plan with efficiency and speed, and was formed by a small and self-selecting elite of highly trained officers, knowledgeable in military and above all logistical matters, the “demi-gods of the army,“ as historian William Philpott writes.
Germany’s officers were equally skilled and prepared. Though the higher command remained the preserve of the nobility, except for in the more technical branches, the junior branches came mostly from the middle class, officer status both shortening regular service to three years and a good way to achieve higher social status in pre-war Germany. Below the officers, Germany’s Army relied heavily on its NCO’s. Since the officer corps was small, NCO’s could be found in command of platoons and companies in the army. A twelve-year stint doing this guaranteed a job in the imperial civil service after the tour of duty.
Germany preferred rural peasants for its conscripts, boys steeped in German tradition, unlike city mice who might be “infected” with socialist ideas. Even those rejected for service were put down in the Ersatz (supplementary) reserve, meaning that Gernany had over one million semi-trained extra men available for call-up at the beginning of the war.
The German Empire was a state molded by and geared for war. It was belligerent and aggressive, nationalistic, and supremely confident in victory, a victory that would assure Germany’s rightful place in the sun. The first step towards the final victory was to begin at Verdun.
On the banks of the Meuse, the Kaiser’s son had been given the honor of commanding the fateful attack. Crown Prince Wilhelm’s Fifth Army had twelve-hundred guns in position, prepared to bombard the French positions. The bombardment would be massive, designed to smash any semblance of French opposition, the infantry merely advancing to occupy ground before another barrage destroyed the next French lines, drawing in more enemy reinforcements that would then be chewed up in more bombardments. Unlike the French, the Germans had dug themselves deep concrete bunkers, or stollen, which could resist all but direct hits from howitzer shells. They had been built as temporary shelters, however, not comfortable bunkers, and so taut-nerved German shock troops spent an unhappy week waiting for the command to attack by bailing icy water out of their concrete homes.
The Fifth Army five corps were a microcosm of the German Empire at its supreme fighting strength. In 1916, a German corps contained only two divisions, each with two brigades, each brigade with two regiments; a regiment two or three battalions, the battalions containing ideally around 1,100 men.
On the Fifth Army’s extreme right flank lay VII Reserve Corps, made up of stolid enduring northern Westphalian German farmers from Munster, Dusseldorf, and the Ruhr. Their commander, General von Zwehl, had been given the Pour le Mérite, Germany’s top decoration, in 1914 for the capture of the French fortress of Maubeuge at the outbreak of the war.
Next in line was General von Schenk’s XVIII Corps, Hessians who could trace the founding of many of their regiments from Germany’s “War of Liberation” against Napoleon in 1813. Now they were following in their ancestors’ footsteps by taking part in the final defeat of France.
On XVIII Corp’s left, between the villages of Ville to Herbebois, was the vaunted III Brandenburger Corps, elite troops noted for dash and impetuosity, feats soon to be repeated at Verdun. The French would note that many of these Brandeburger stormtroopers wore a new steel helmet in place of the old leather pickelhaube.
Less involved in the coming strife was XV Corps, held outside the main range of the battle, and V Reserve Corps held in the second-line, of decidedly second-rate value, composed mostly of elderly Silesian Poles and unwilling Alsation conscripts with an annoying tendency of deserting to the French and revealing German plans.
Of the main striking force at Verdun, “it would be hard to find three harder-hitting corps in the whole German Army.” Before the battle began, these shock troops were not kept in the best conditions in their freezing stollen bunkers. Nerves were taut, with only occasional duties and perhaps some letter writing to take their thoughts off the coming battle. Most wanted the battle begin, if only to get the waiting over with. But even if regimental doctors were receiving a distressing amount of patients with upset stomachs, there is no doubt that this was a military force in peak fighting trim.