I almost didn’t make it through this one.
Not exactly light viewing for me.
Some people…obsessed with gore.
I’ve never been that way.
But there is something fascinating about serial killers.
Not in an adolescent worship rebellion way.
Stories about serial killers are like car crashes.
Sometimes we can’t look away.
Perhaps we feel compelled to go into that deep place within ourselves.
We want to know the horror of truth.
We want to be able to handle the truth.
The truth is sometimes disgusting.
If you live in a war zone, you are used to blood.
If you are a soldier who’s fought in a war, you’ve seen the worst kind of dying.
Dahmer is a different sort of death.
It is a feast for psychologists.
We want to learn how these things happen so that we can prevent them.
I’m no psychologist.
Far from it.
I’m just a student of life.
And so in order to really appreciate wild sunflowers growing by the railroad tracks, we must face Dahmer.
Let me just say that this film puts Ted Bundy to shame.
First because of director David Jacobson.
It is a masterful film. An artful film. Everything that Schindler’s List is not.
In stories like this…there is nothing more important to remember (as an auteur) than the banality of evil.
But Dahmer introduces a star: Jeremy Renner.
But you know who really deserves some credit?
Those people that auteur theorists often forget about.
Production designer (Eric Larson).
Art director (Kelley Wright).
Costume designer (Dana Hart).
These functional elements are essential here.
You think The Nice Guys has a cool look to it?
It ain’t shit compared to Dahmer.
And Ryan Gosling (that fucking guy annoys me…Ryan Reynolds with a mustache)…
Funny thing is, The Nice Guys looks like a good film.
But it’s vanilla…beige…compared to the cinema under discussion.
I’m not going to be wanting to see Dahmer again anytime soon, but it’s an essential film.
If you want to understand his crimes.
Bruce Davison is excellent as Dahmer’s father.
Artel Kayaru is really good!
Don’t discount the horror medium.
The “greatest creator of forms of the 20th century” (to quote Godard) kicked it off in earnest with Psycho.
Darkness is inextricably wound up in the light of cinema.