Unlike in Silence of the Lambs, there is no basement lair no underworld metaphor. John (Stephen Curry) and Everly (Emma Booth), two serial killers after sex and domestic bliss in 'Hounds of Love.' Photo: Label Distribution Vicki (Ashleigh Cummings) is to be their fifth victim, after Evelyn (Emma Booth) and John (Stephen Curry) lure her into their car with the promise of a joint and a lift to the party she snuck out for. In this the film touches on a different horror entirely: that monsters lurk in normalcy too.īased on Australia’s Moorhouse murders, Hounds of Love is about a lower middle-class suburban couple kidnapping young women for monstrous sex play, then killing and burying them out in the woods. But in Hounds of Love, the serial killers are natural outgrowths of desire, power and, most surprisingly, the suburban nuclear family. In Seven the killer is just a tool of a grand design, in Halloween a force of nature, in Zodiac the killer could be anywhere and everywhere, more a vaporous apparition than any truth at all. In 1931’s M Peter Lorre’s child-killer is marked most by his eerie whistle and his final defense - that his crimes are not like yours and that his demoniac drives puts him in a separate category of moral horror entirely. And it’s not just because of Silence of the Lambs. The project of most serial killer movies is to monsterize, elevating their characters to mythic archetypes.
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