Category Archives: Crime

Movie Review: Heavenly Creatures

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Peter Jackson’s “Heavenly Creatures,” the breakthrough film from the director of “The Lord of the Rings,” might as well be in a genre of its own. Call it fantastical nonfiction. That is, it bridges the great divide between fantasy and a frightening reality that actually occurred.

In 1954, quite, rural New Zealand was shaken by murder. Two teenage girls had murdered one of their mothers in what one could describe as “a crime of friendship.” The two were caught, imprisoned, and later paroled on the condition that they would never see each other again. Jackson did not make a story about the trial but rather about the events that led up to the murder, based on what is true, what is thought to be true, and what can’t be true under any circumstance.

The events of “Heavenly Creatures” take place in and around the small town of Christchurch on New Zealand’s southern island. The two teenage girls, Pauline Parker (Melanie Lynskey) and Juliet Hulme (Kate Winslet) meet in Catholic school. The introverted Pauline is immediately transfixed by Juliet, and how Juliet will talk back to the French teacher without even thinking about it. The two soon become inseparable best friends. They frequently escape into a fantasy world that they created, one that brings them away from their dull, suppressed lives. The fantasy starts to become too real and while the girls are present physically in reality, they are mentally gone.

After feeling that their friendship is becoming unhealthy, Pauline and Juliet’s parents make the decision to separate the two of them. The separation does no good and instead drives the pair into bouts of insanity. They ultimately hatch a sinister plan to be together forever, one that, even they admit, could only end in tragedy.

“Heavenly Creatures” is a movie of many questions, and many frightening possibilities. The whole story is one giant question about who the driving force of insanity here is. Were Pauline and Juliet naturally troubled, or were their descents into insanity caused by their separation? In a society that stressed conformity and deemphasized creativity, perhaps madness and fantasy were the only means of escape. However, this in no way justifies the terrible actions carried out in the film’s terrifying finale.

A driving force in the narrative of “Heavenly Creatures” is the widely circulated rumor that the two girls in question were lesbians. This is not played for an exploitative purpose, or to create controversy, but rather it serves as a lens into the psyche of these two teenage killers. Could physical love have explained why they were so inseparable, and why they so despised both the religion and the adults who raised them?

“Heavenly Creatures” is one of the great underappreciated gems of the 1990s. Jackson showed the ability of a director who would soon be able to make great movies on a much larger scale. The fantasy world created in “Heavenly Creatures” is one that seems fake, yet so tangible. The creatures the girls create look like a cross between Play-Doh and those little green toy soldiers. The special effects, while dated by today’s standards, still look impressive for something made outside of Hollywood, and without a blockbuster budget. I can’t wait to see what else the other filmmakers of New Zealand can offer in the years to come.

“Heavenly Creatures” begot not only a great director, but also two great actresses. This was Winslet’s debut role, and from her performance one could see why she would later become an international star and an Oscar winner. She gets so into this role, and she is so sinister yet so innocent at the same time. Lynskey  unfortunately has not achieved the same level of success as Winslet. She has had bit roles in a few very good movies (“Up in the Air”) and a few very good TV shows (“It’s Always Sunny in Philadelphia”), but she never achieved real stardom. Her performance here is as subdued and creepy as her character. She acts mostly through her narration and her disgruntled facial expressions and most of the time, you can never tell whether she is about to scream or about to kill someone. Hopefully, Lynskey makes a comeback one of these days.

There have been a lot of scenes of violent cruelty in movies, but few have effected me as deeply as the ending scene of “Heavenly Creatures” did, despite being so quick and so sudden. What creates the impact is that there is 90 minutes of dread building up to it. Like in the ending of movies such as “The Conversation,” making an entire movie based off dread until the very final minutes is ultimately more rewarding. The more you wait, the more horrifying the crime feels. Peter Jackson is a master of suspense in disguise.

“Heavenly Creatures” should be seen for all of the reasons that people watch movies in the first place: to be transferred off to a place they normally wouldn’t be able to go to, to feel sympathy for people we shouldn’t feel sympathy for, and to simply be thrilled. We see both a foreign country in a time few of us would’ve known it in, and a world that exists entirely inside of two girls’ heads. Juliet and Pauline might be murderers, but they are also angst-ridden, isolated teenagers that anyone could relate to. It also shows a director’s admirable mission to painstakingly tell a difficult story right. And tell it right he did.

Movie Review: Animal Kingdom

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No matter how smart and evolved the human species becomes, we tend to forget one thing: we are all animals. All it took for me to realize that was a little reality check from our friends down under in a deeply disturbing little gem called “Animal Kingdom.”

While most popular films about the criminal underworld depict the rise and fall of a certain criminal (or group of criminals), “Animal Kingdom” only focuses on the fall. In fact, this crime family never seemed to have much of a rise anyway.
“Animal Kingdom” begins in a small apartment where young Aussie Joshua “J” Cody (James Frecheville) sits near his dead mother, who has just overdosed. J is handed over to live with his grandmother (Jacki Weaver). She presides over J’s uncles, all of whom exist in the criminal underworld, each with a varying degree of insanity. After his uncles are involved in a standoff that ends with multiple dead cops, the family sinks even lower, and are threatened by a suspicious detective (Guy Pearce). After the detective offers J a way out of this troubled life, J faces two options: loyalty or self-preservation. Let the puzzle come together.

“Animal Kingdom” is a great example of a 21st century crime film. It certainly has many Americanized elements to it, yet filmmakers in Hollywood could definitely learn something from director David Michod. Everything he puts in the film helps to create such an unsettling atmosphere of constant fear and paranoia. His gloomy lighting choices and never-ending long shots are absolutely uncanny.

Then there is the way Michod handles violence. Every bullet wound is extremely quick, unexpected, and unsettling. A lot of films today show violence in a manner that is so quick, that you can barely comprehend it. However, in the typical action film, this is usually done to accommodate the modern ADD state of mind. However, Michod uses this fast pace so the viewer becomes more accustomed to the violence and therefore, more accustomed to the idea that this is a world where violence is no unusual thing; it can occur literally at any second.

Not to mention, the film also pulls off a very early in the film twist in which a main character is killed off. Like “Psycho” and “Children of Men” before it, this creates a sense that in this story, none of the characters are safe, no matter what the conventions of film tell us.


The entirety of “Animal Kingdom” certainly lives up to the metaphor presented in its title. What this film presents to us is that humankind is an animal kingdom: the strong succeed, the weak die off, and eventually, everyone finds their place. The film carries many haunting symbolic images to match this metaphor, such as flies swarming around a dead body which lies face down in an open field.
The film’s ensemble of Australia’s finest contribute to the animalistic mood. Weaver, as the over protective matriarch, got an Oscar nomination for a very good reason. She makes it impossible to tell whether her character is simply a good mother trying to protect her family, or a woman with very bad intentions. No matter what, she is always able to hide some sort of lingering darkness under a nice granny smile.

Meanwhile, the relatively new Frecheville gives a very quiet performance, yet it is one that shows a lot of inner pain and confusion. Meanwhile, Pearce continues to impress in another small, yet very important role. Here, he showed a rare ability to seamlessly deliver long, deep monologues. The most memorable is his speech about the animal kingdom and how humans fit into it (briefly mentioned above).

What I liked best about “Animal Kingdom” was something it did, something that American movies rarely do: it never glorifies crime. For every American crime movie that shows the consequences of being a criminal, they also have to show so much good coming out of it. However, “Animal Kingdom” removes all the glitz and glamour. It may be easy, it may have some positive outcomes, but in the end, there is no glory in crime. The criminal world (at least in Australia), is a little, well, animalistic. In the end, everyone is simply just trying to do what they can to survive.

If You Liked This Movie, You’ll Also Like: Goodfellas, Pulp Fiction, Reservoir Dogs, Trainspotting, The Proposition