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Killer: A Journal of Murder

Killer: A Journal of Murder

Drama · 1996

Carl Panzram is sent to Leavenworth Prison for burglary. While there, he is brutally beaten by a guard. Neophyte guard Henry Lesser feels sympathy for Panzram, befriends him, and gets him to write his life story. Lesser learns that Panzram's past is much more violent than he thought, but also that he's capable of being a much better person than the rest of the prison staff believes - or so Lesser thinks.

Movie details

Killer: A Journal of Murder

“Liar. Thief. Murderer. He hated all of humanity, himself most of all.”

1996 Drama 1h 31m

Critical arithmetic

One number, for now.

TMDB

5.8 / 10

Community rating

Carl Panzram is sent to Leavenworth Prison for burglary. While there, he is brutally beaten by a guard. Neophyte guard Henry Lesser feels sympathy for Panzram, befriends him, and gets him to write his life story. Lesser learns that Panzram's past is much more violent than he thought, but also that he's capable of being a much better person than the rest of the prison staff believes - or so Lesser thinks.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Killer: A Journal of Murder?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Tim Metcalfe

Written by

Tim Metcalfe

James Woods

James Woods

Carl Panzram

Robert Sean Leonard

Robert Sean Leonard

Henry Lesser

Cara Buono

Cara Buono

Esther Lesser

Ellen Greene

Ellen Greene

Elizabeth Wyatt

Robert John Burke

Robert John Burke

R.G. Greiser

Lili Taylor

Lili Taylor

Woman in Speakeasy

S

Seth Romatelli

Teenaged Carl Panzram

Court is in session

Put Killer: A Journal of Murder on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Sincerity is not manipulation.”

The film risks embarrassment to make emotion communal, and that openness is harder than fashionable detachment.

The prosecution The Adrenaline Seeker

“The strings are showing.”

Every cue tells you exactly what to feel and when, leaving sentiment to do the work character should have done.