The Honeymoon Killers (1969)
Average Rating: 8/10
Reviews Counted: 18
Fresh: 17 | Rotten: 1
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Average Rating: N/A
Critic Reviews: 3
Fresh: 3 | Rotten: 0
Average Rating: 3.5/5
User Ratings: 2,275
Martha Beck (Shirley Stoler) is a lonely nurse who takes care of her invalid mother in Mobile, Alabama. Starved for affection, she places an ad in a lonely hearts column and soon receives a letter from Ray Fernandez (Tony LoBianco). He meets her and runs off with her dowry to New York City. Martha puts her mother in a nursing home and follows the handsome con artist. She agrees to pose as his sister as the two fleece lonely, unsuspecting women out of their money. Martha's jealousies of Ray's
Jan 1, 1970 Wide
Jul 22, 2003
Live Home Video
Tony Lo Bianco
Mary Jane Higbee
Justice of the Peace
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It is one of the best and, curiously, most beautiful American movies in recent years.
Leonard Kastle brings a spare dignity and genuine depth of characterization to his exploitation subject.
Kastle is a born filmmaker with an uncanny feeling for the startling close-up and the excruciating long-take
Shot in a grainy grey and white helps to give the film an amateurish and at the same time realistic feel, particularly as it's based on true events. With standout performances from Lo Bianco and Stoler, this is a forgotten gem.
The filmmakers have refused to romanticize the brutality of the criminals at the heart of the film.
A pulp classic ranking near the top of its particular post-Hays Code, pre-MPAA moment.
Small in scale and realistic in style, this gritty picture, about a couple who murder lonelyhearts women, is charged with piercing intelligence and amazing intensity.
Made in 1969, "The Honeymoon Killers" presaged elements of David Lynch's filmic approach, and clearly informed John McNaughton's similarly-themed stomach-churner film "Henry: Portrait of a Serial Killer." Romantic dysfunction never looked so banal, brutal
Delivered in sobering and dramatic black and white, it's quite possibly one of the most honest and compelling 'bio-pics' ever conceived.
Such a wild and sad piece of cinema that the knowledge that it's based on truth seems incidental.
t's hard to see whether director Kastle has attempted a semi-documentary or a schlock-horror number. The film has elements of both and often slides into kitsch.
Ray and Martha are violent for their desperation, their fiction the more vilified of the late 60's, early 70's crime couples.
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