The Honeymoon Killers

Based on the true story about the Lonely Hearts Killers, The Honeymoon Killers felt a lot like John Waters’ Pink Flamingos. Martin Scorsese was originally hired to direct the film, but was fired for being “too slow”, after he spent a long period of time framing and lighting a beer can. Maybe if this film wasn’t rushed, and they never fired Scorsese, this could’ve been a better film. I don’t think it would be the same film as Kastle’s version, but I think it would’ve been better.

Based on the true story about the Lonely Hearts Killers, The Honeymoon Killers felt a lot like John Waters’ Pink Flamingos. Martin Scorsese was originally hired to direct the film, but was fired for being “too slow”, after he spent a long period of time framing and lighting a beer can. Maybe if this film wasn’t rushed, and they never fired Scorsese, this could’ve been a better film. I don’t think it would be the same film as Kastle’s version, but I think it would’ve been better.

Honestly I don’t know who’s the most psychotic because yes it’s Ray’s initial idea and plan to seduce women and steal from them, but Martha is capable of way more than Ray could. I feel like this comes out of Martha out of jealousy and possession, but for Ray, it’s purely for the money. At least Martha turned themselves in, did Ray ever find out that it was her, who knows and btw just to be clear, he was never in love with her.

Honestly I don’t know who’s the most psychotic because yes it’s Ray’s initial idea and plan to seduce women and steal from them, but Martha is capable of way more than Ray could. I feel like this comes out of Martha out of jealousy and possession, but for Ray, it’s purely for the money. At least Martha turned themselves in, did Ray ever find out that it was her, who knows and btw just to be clear, he was never in love with her.

Janet coming out with that ugly ass hat literally winded me 😭

Janet coming out with that ugly ass hat literally winded me 😭

Shirley Stoler is so damn good in the lead role here. Her lonely nurse plays so well against Tony Lo Bianco’s sexy conman. There’s unmistakable chemistry there in how their dynamic is quickly established and built upon. This kind of partners-in-crime archetype makes for excellent filmmaking, drawing upon the inspirations found within the true stories that inspired it. The true crime genre is ripe for sleaze, if I’m being completely honest. It is inherently exploitative, especially when we look at how true crime has manifested in the modern era - creating just as many problems as it has solutions. Here, Kastle ramps up the melodrama, taking the natural, raw talents of his actors and enhancing them with gorgeous cinematography from Oliver Wood. 

Every single time I thought the film might start getting stagnant, the screenplay throws in a murder at just the right time. And it’s not just murder for murder’s sake. Each kill is indicative of the relationship between Martha and Ray and how that relationship shifts and changes over time, especially as she becomes more and more distrustful of him. There is a delicious kind of toxicity that overtakes the screen whenever they’re present. Even the most lovely and innocent of scenes are automatically ruined by their presence. I don’t think I’ve ever seen another film pull off exactly the same kind of feeling as the Lincoln’s Birthday Party scene.

This is one I’m going to have to add to my physical collection as soon as possible.

Shirley Stoler is so damn good in the lead role here. Her lonely nurse plays so well against Tony Lo Bianco’s sexy conman. There’s unmistakable chemistry there in how their dynamic is quickly established and built upon. This kind of partners-in-crime archetype makes for excellent filmmaking, drawing upon the inspirations found within the true stories that inspired it. The true crime genre is ripe for sleaze, if I’m being completely honest. It is inherently exploitative, especially when we look at how true crime has manifested in the modern era - creating just as many problems as it has solutions. Here, Kastle ramps up the melodrama, taking the natural, raw talents of his actors and enhancing them with gorgeous cinematography from Oliver Wood. 

Every single time I thought the film might start getting stagnant, the screenplay throws in a murder at just the right time. And it’s not just murder for murder’s sake. Each kill is indicative of the relationship between Martha and Ray and how that relationship shifts and changes over time, especially as she becomes more and more distrustful of him. There is a delicious kind of toxicity that overtakes the screen whenever they’re present. Even the most lovely and innocent of scenes are automatically ruined by their presence. I don’t think I’ve ever seen another film pull off exactly the same kind of feeling as the Lincoln’s Birthday Party scene.

This is one I’m going to have to add to my physical collection as soon as possible.