Buffalo Serial Killer The Factory True Story

You gotta admire John Cusack’s commitment to taking chances. I mean, for every 2012 or HOT TUB TIME MACHINE he stars in, it seems like he takes three weirdo roles in small, otherwise obscure projects. He followed up the cutesy rom-com SERENDIPITY by playing a Jewish art dealer opposite Noah Taylor’s Young Hitler in MAX, followed MUST LOVE DOGS with THE ICE HARVEST, followed HOT TUB TIME MACHINE with SHANGHAI (which has never even been released in the U.S.), Lee Daniel’s crazy THE PAPERBOY, and. THE FACTORY, which was filmed in 2011 but no one ever bothered to release until now. In real life, his restless energy and interest in trying new things has led him to friendships with Joe Strummer and Hunter S.

Oct 26, 2017 - However, none of the Buffalo story is true. Craven himself said that 'A Nightmare on Elm Street' is based on a true story, but not a serial killer.

Thompson, earned him a 6th-level black belt in kickboxing, and given him a platform for his progressive politics on issues ranging from freedom to the press to the Obama administration’s drone program. Sometimes it pays off in the movies too; MAX is one of my personal favorite underseen films, ICE HARVEST is a great latter-day Harold Ramis neo noir, BEING JOHN MALKOVICH is still a masterwork of unparalleled madness. But more often it pays off with embarrassing crap like THE FACTORY.

THE FACTORY follows the tradition of the apparently endless parade of serial killer police procedurals which trail THE SILENCE OF THE LAMBS, in that it’s the story of an obsessed cop trying to hunt down a skeezy weirdo who’s been kidnapping prostitutes and (mild spoiler) chaining them in his basement, forcing them to call him daddy and pump out babies. Our bedraggled, underappreciated hero Mike Fletcher (Cusack) was already fixated on solving this to the exclusion of his own life and problems, so you can imagine how well he takes it when his own daughter becomes the latest victim. The first bad idea they made here was thinking this baby farming asshole Gary (Dallas Roberts, Milton from Walking Dead ) was interesting enough to make a movie about. I mean, unless you have a really fucking good hook for your police procedural film, a serial killer movie is gonna live or die on the strength of the villain. I don’t know if they just didn’t notice, or were trying to go for gritty realism as a tribute to the “actual events” this was supposedly “inspired by” (those actual events being 'well, there is a police department in Buffalo, New York') or what, but this Baby Factory idea is pretty weak sauce by serial killer standards.

I’m not saying I think he’s a nice guy or anything, but in the ever-escalating game of serial killer gimmicks this guy Gary just seems like a greasy loser, not even colorful enough to be interesting. In fact it’s even kind of a misnomer to call him a serial killer, since he’s really a serial kidnapper/rapist who just has to kill his victims sometimes because they try to escape. What a tiresome asshole. Milton does a perfectly fine job, but the whole scenario quickly kind of falls into that death zone for genre movies: unpleasant enough to not be fun to watch, not interesting enough for you to care.

Would you trust this man around your serial killer movies? John Cusack, of course, is always fun to watch, so casting him was a good idea.

Unfortunately, he’s cast in the most pointless role, as the detective trying to solve a mystery to which we already know the answer. Which is always a bad idea. Man, is there a quicker way to kill your movie than to have your protagonist spend the whole film trying to figure out what the audience already knew from the first scene? Short of casting Ryan O’Neal, I don’t know of one. For the viewer, there’s no doubt as to who the killer is, what he’s doing, how he’s doing it, or where he’s doing it.

There is an element of minor curiosity as to why he’s doing it, but thankfully the movie never addresses that, sparing us the indignity of being mildly interested in some parts of an otherwise tepid paint-by-numbers. Cusack’s character is our protagonist, but all he does is freak out and look at pictures of people we already know and agonizingly slowly connect the obvious dots between the only three characters he ever learns about. This presents the same classic conundrum I had with the casting of Daniel Craig in the: our lead has the least interesting story, but he’s also the most compelling actor anywhere in sight. Bit of a conflict of interest there. They try to up the tension for Cusack by pushing the depressing true fact (maybe that’s what they mean by “actual events?”) that if a missing person isn’t found within 48 hours, the odds are that they will never be found. This bit of trivia is found on the movie poster, in intertitle text at the start of the movie, and then explicitly stated aloud by the characters several times, so you can see why Mike is panicking so much, trashing his office, violating people’s civil rights, engaging in a few choice moments of mega-acting, and so on.

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