Waters sneaks in ominous signs of what Beverly is up to next without diluting the ironic “horror movie” approach every time she kills. Together they more than sell the vile deviance hiding inside your local suburbs. There’s never the sense of push-pull in who’s got control over the scene there is just so much chemistry between Waters’ aesthetic and Turner’s enjoyment of the material.
BEVERLY SUTPHIN SERIAL KILLER TRUE STORY MOVIE
But when Turner guides the scenes to a more sinister bent with either a passing look of extreme contempt or relishing any line reading of coarse indecency, Waters is very happy to amplify her shocking violence even something as small as swatting a fly in the beginning of the movie feels offensive. Turner's radiance turns up to 11 on the most unnerving homebody who gently scolds for profanity and gum-chewing. With the most polished filmmaking of his entire career, Waters and cinematographer Robert Stevens clean up and brightens shots to a bubbly sunny mood. Turner and Waters work so well off of each other that it’s kind of shocking that they didn’t make any movies together after this. With Kathleen Turner’s housewife character Beverly Sutphin and her double life getting a kick out of sending vulgar notes and crank calls to her poor neighbor Dottie and murdering anybody who crosses her in the slightest way, Waters found the perfect premise for his preoccupations: subverting pleasant 50s and 60s nuclear suburbia (such as in his most popular film Hairspray) and his early roots as a shock transgression facilitator (as his most notorious film Pink Flamingos). Serial Mom happens to be the film of his career that best mixes Waters’ two major strands of subject matter. Though that explanation forgets that John Waters has an inherent gift for cult. Our collective fascination with the true heinous crime stories, that's bled on over from late-night programming to award-winning prestige television and podcastings, could be used to explain part of why Serial Mom has developed a devoted cult following after its financial underperformance. There is little prophetic in the satire but there is A LOT of scary forecasting regarding the OJ Simpson murder case that was just around the corner at the time of its release. Hell, it wasn’t even new to 1994 many of the social observations Serial Mom makes arguably were already well before up to the previous year’s The Positively True Adventures of the Alleged Texas Cheerleader-Murdering Mom.
"The sun will come out tomorrow.The existence of Serial Mom 25 years ago establishes that America’s current obsession with true crime stories – with the likes of Serial and American Crime Story and the never-ending avalanche of Netflix documentaries – is not something remotely new to our day and age. However, if you're a fan of Annie - the musical - you may not want to watch this. It stands out as one of Waters best films. But although Serial Mom is a tribute to gore and horror movies such as Blood Feast, Berserk and Texas Chainsaw Massacre, it also deftly explores the topics of capital punishment, crime as entertainment and media hype. Waters' own obsession with serial killers like Bundy, Richard Speck and Charles Manson, as well as his fascination with trials, comes to the fore of this sick, sick movie. Waters himself even has a cameo as the voice of serial murderer Ted Bundy. And in the tradition of Hairspray and Cry Baby, there are many outrageous cameos: Traci Lords, Suzanne Somers, Patty Hearst, Joan Rivers and L7 as the punk group Camel Lips. Mink Stole is superb in her role as abused neighbor, Dottie Hinkle (a/k/a Pussy Face!).
Serial Mom takes you to suburban Baltimore where Super-Mom, Beverly Sutphin (played full-tilt by Kathleen Turner) will do anything to keep her family happy and healthy, even MURDER! Starring Kathleen Turner, Sam Waterston, Ricki Lake, Matthew Lillard, Mink Stole
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