Top 5 Best TRUE CRIME Movies on Netflix Right Now 2022
Iptv M3u Offers True Crime Movies Netflix 2022
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The Clovehitch Killer
A shocking revelation turns a teenage boy’s world upside down in this chilling look at the evil that can lurk below even the most wholesome surface. Tyler Burnside is a Boy Scout, a volunteer at his local church, and the dutiful son of an upstanding, community leader dad. Only one thing troubles the quiet Kentucky town he lives in: the unsolved murders in which ten women were brutally tortured and killed by a psychopath known as Clovehitch, which rocked the community more than a decade ago. When Tyler discovers a cache of disturbing images in his father’s possession, he begins to suspect that the man he trusts most in the world may be Clovehitch and that his deadly rampage may not be over. With unrelenting tension, director Duncan Skiles crafts a picture-perfect vision of the all-American family and then piece by piece rips it to shreds.
watch Trial of The Clovehitch Killer
DAHMER
Based on real-life serial killer Jeffrey Dahmer, who was active primarily in Wisconsin in the 1980s, this film focuses on a few key episodes in Dahmer’s life.
If you’re at all familiar with the facts about Jeffrey Dahmer–and probably a hefty percentage of people interested in the film are familiar with Dahmer to some extent–it’s difficult to watch this film without strong expectations. The problem is that under those expectations, Dahmer isn’t likely to be the film you want it to be. It might work better if you’re unfamiliar with the background material, but on the other hand, it might be too disjointed to work in that case. You need familiarity with Dahmer’s life to piece the film together as you watch it.
People seem really disgusted by the film, but the only thing that disgusts me is the negative reviews. This is a very well-made film that was put together on a very low budget. Films like this always have the immediate handicap of focusing not only on an evil, psychotic main character, but focusing on an evil, psychotic main character who we all know. There weren’t too many complaints about « The Talented Mr. Ripley » (a great film) focusing on a psychopath, but that’s because Tom Ripley is a fictional character. Like everybody, I believe that what Jeffrey Dahmer did was wrong, and I feel sorry for all the families who lost sons and other relatives due to him. But this movie was not made to portray him as a hero, or a villain. It’s meant to portray him as a person. We all know about the crimes that Dahmer committed. But we don’t know about Dahmer himself. We don’t what drove Dahmer to madness, and what led up to the subsequent rapes, murders, and eventual cannibalism. And the movie doesn’t try to shock us with gory details of these grisly occurrences, because that’s not its intention. There’s no use showing us what we already know.
I found this biopic deeply fascinating. I learned a lot about Dahmer that I never knew previously. I can’t say I relate to him that much, other than being lonely and an only child, but that didn’t stop me from seeing how he was as a human being. While watching the film, I said to myself, « How come we don’t learn much about his family life? » Maybe his family life had nothing to do with choosing to be that way. Not every serial killer commits murder because he was abused as a child. From the looks of things, he had a pretty well-to-do upbringing.
What I did get a sense of were his alienation and shyness. He felt his homosexuality served as a handicap in his society. And he wasn’t brilliantly sociable, so he didn’t have an easy time making friends or getting guys to go out with him, or have sex with him for that matter. But his perversions took him so far that he’d walk into a gay bar and slip roofies into guys’ drinks (which is shown in an extended montage), take them to the back, and have sex with them as they’re helpless and passed out. It’s interesting to find out this can happen among homosexuals as well. There’s a long history of guys slipping roofies into women’s drinks to get them in the sack, so Dahmer was no different from any horny heterosexual guy, only he took it many steps further.
One thing I must criticize is the use of flashbacks. When I first watched the film, I had the impression that the whole movie was about young Jeffrey Dahmer and the story was told in a linear fashion. But after watching the featurette and watching it a second time with the commentary, I realized that the movie was bouncing back and forth from Jeffrey in his later years to Jeffrey in his earlier years. I personally didn’t think slapping facial hair on him made him look much older. He still looked like he was in his twenties, so I had no hint of his aging. Once I watched it a second time, the story became much more clear to me, but others watching it for the first time might get confused as well.
I liked the use of lighting. Jeffrey’s room is lit completely red, giving it almost a hell-ish appearance. And towards the end, the lighting becomes much darker, as Dahmer becomes eviler.
The performances are good all around. Jeremy Renner does an incredible job at playing Dahmer, expressing a laundry list of emotions with his face and body language alone. I kept trying to recall where I saw him before, since his face looked very familiar, and then I checked his filmography and found out he was in « National Lampoon’s Senior Trip. » Of course, this movie gave him a much better opportunity at showing off his acting abilities. Talented, underrated actor Bruce Davison makes a few appearances as Dahmer’s father, also doing an incredible job the 10 minutes or so he’s on screen.
Though I found the film fascinating and thought-provoking, I still wish I could’ve learned a little more about what drove Dahmer to madness. The director mentioned it wasn’t his intention to give a backstory on Dahmer’s life, and instead make it an emotional drama, but it would’ve made the film more interesting. But one scene that caught me completely by surprise was when young Jeffrey cringed when cutting up one of his victim’s bodies and eventually burst into tears. I’m sure his remorse decreased over the years, but I don’t ever visualize a serial killer feeling shame about his victims. I saw John Liszt (sp) in an interview once and he described his methods of mutilating his victims without batting an eye. So this is not exactly the movie’s cue to have the audience feel sorry for Dahmer and cry along with him, but it’s enlightening to find out that had emotions as well. He was just so driven by his psychological sicknesses that his emotions couldn’t hinder him.
22 Jully
Given his penchant for intense, fast-moving, “you are there” modes of cinematic storytelling, there was every reason to dread the prospect of Paul Greengrass making a film about the horrific events in Norway on July 22, 2011.
That was the day that Anders Behring Breivik committed a bombing outside a government building in Oslo, and in the confusion that followed, went to the island of Utøya, heavily armed, and shot at hundreds of young people at a camp there. His acts killed 77 people and wounded more than 200. If you’ve seen “United 93,” whether you admire it or not, the prospect of the same filmmaker taking you through a meticulous simulation of that day is at the very least daunting.
Dark Waters
Given their propensity to go big, there’s something refreshing about seeing Jessica Chastain and Eddie Redmayne play minor keys in Tobias Lindholm’s “The Good Nurse,” which premiered at TIFF before an October bow on Netflix. The problem is that the whole movie is in minor key. It’s as if respect for the admittedly brave protagonist of this true story was so overwhelming that the creators forgot to give their film a pulse. « The Good Nurse » skims along the surface of some issues—like a hospital system so broken in its overprotective state—and then reduces its characters to a short list of definable traits, pushing them into a thriller that does have admirable restraint given the genre’s propensity to over-do projects like this one. Still, one shouldn’t mistake a serious tonal approach for depth.
Molly,s Game
Molly Bloom hustles and jostles. She sizzles and dazzles, and whatever room she’s in, she’s totally in command—that is, until she isn’t. Even then, though, she’s irrepressibly verbal—able to articulate everything, all the time, in ways that are far quicker and cleverer than the average human ever could.
In other words, Molly Bloom is an Aaron Sorkin character, even though she’s a real person with a really extraordinary tale to tell: The “Poker Princess” made a fortune running high-stakes games for the wealthy and powerful. And “Molly’s Game” marks the directorial debut of the writer of “The West Wing,” “The Social Network” and “A Few Good Men,” among many others. (He’s working from his own screenplay, of course.) So if you’re a fan of his particular brand of impossibly intelligent characters exchanging rat-a-tat dialogue, you’ll be in heaven here. The hose is on full blast for two-plus hours. Nothing and no one seems to be holding him back, for better and for worse.
