The Killing Kind (1974)

I like the storyline of this show,it attract me so much

Good start, but then it gets ruined

The movie turns out to be a little better than the average. Starting from a romantic formula often seen in the cinema, it ends in the most predictable (and somewhat bland) way.

The best films of this genre always show a path and provide a takeaway for being a better person.

Troubled and unstable Oedipal wreck sex offender Terry Lambert (an excellent and convincing performance by John Savage in an early lead role) gets released from prison after serving a two year sentence for gang rape he was forced to participate in and returns to the gloomy boarding house run by his doting and desperately lonely overbearing mother Thelma (superbly played with moving restraint and subtlety by Ann Southern). Terry develops an unhealthy fixation on comely, but naive aspiring model new boarder Lori Davis (a fine portrayal by Cindy Williams) and plots revenge on the folks responsible for sending him to jail. Director Curtis Harrington, working from a grimly compelling script by George Edwards and Tony Crechales, delivers an arrestingly stark, sad, and deeply creepy portrait of everyday madness, despair, denial, and the darker side of smothering motherhood that inevitably begets insanity and tragedy while doing his trademark expert job of creating and sustaining a bleak and seamy atmosphere that proves to be quite potent, intriguing, and ultimately heartbreaking as the depressing narrative unfolds towards a shattering bummer conclusion. Moreover, the uncomfortably incestuous and suffocating relationship between Terry and Thelma, a severely deviant and twisted sexuality, a few shocking moments of sudden brutal violence, and a dryly amusing sense of black humor further add to this picture's supremely unsettling edge. Savage and especially Southern do sterling work in their parts, with sturdy support from Luana Anders as snoopy and repressed librarian neighbor Louise, Ruth Roman as successful lawyer Rhea Benson, Sue Bernard as trampy rape victim Tina Moore, Marjorie Eaten as the doddery Mrs. Orland, and Peter Brocco as Louise's domineering crippled father. Mario Tosi's stylish cinematography makes neat occasional use of artful dissolves, slow motion, and freeze frames. Andrew Belling's haunting melancholy score does the moody trick. Highly recommended viewing for fans of Harrington's often offbeat and impressive work.

Don't get me wrong. I LOVE Psychotronic films from the 1970s. I really love OBSCURE weirdos such as this one so I bought this off eBay last week after only READING about it on here. The cast /acting is about on par with a modestly budgeted Hollywood film from the time period as well as the production values. The story is also modest, however the real stumbling block is the sluggish direction and lack of thrills. This is not a scary movie and the tension here is nil. Ann Sothern plays her piggish self as the "Mother" yet the relationship with John Savage (who is very very good here) just doesn't jell. The scene where he kills Ruth Roman (SHE should have played the MOM as she did in my favorite weirdo of all time "THE BABY" -- also from 1973) is pretty tame. Luanna Anders is also very good as the bookish nosy neighbor but does not have much to do either. There is also LITTLE tension when he kills sexy Sue Bernard in her car. The climax is also "no thrills" . This is one of those movies that needed a SHOCK ENDING for certain. Your best bet is Net Flixxing this for a few bucks as opposed to buying this (like I did) for $12.99 plus $3.00 shipping.

Solidly well-done thriller is an effectively disturbing gem that stands out from the many drive in horror flicks of the early 70's.After serving jail time for being accused of rape, a repressed young man returns home to his dominating mother where his desire for revenge may lead him down a murderous path. The Killing Kind reminds me quite a bit of another relatively undiscovered gem - 1982's Night Warning, although The Killing Kind pre-dates that film by nearly 10 years. As with that film the power behind The Killing Kind lies in the sympathetic characters that drive this story. Not to mention that both films deal with the subject of unhealthy motherly obsession.The Killing Kind though does stand firmly on it's own as a twisted character study. The story is a compelling brooder of insanity, the suspense is tightly woven, there's a good share of shocking scenes, and the performances of Sothern and Savage are excellent. Ultimately this film becomes quite the emotional roller-coaster, especially in it's somber conclusion.Well worth seeking for those who like strong, character-driven thrillers. A shocking little rarity.*** 1/2 out of ****

After WHAT'S THE MATTER WITH HELEN?, this is director Curtis Harrington's most effective thriller. The film opens with 19-year-old John Savage being forced by his friends to participate in the brutal gang rape of sexy beach girl Sue Bernard. Pic then jumps forward two years with Savage being released from prison and heading for the boardinghouse run by his dotty, doting mother(Ann Sothern). At first, Savage seems well enough adjusted, but naturally spending two years behind bars for a crime he unwillingly committed has made him bitter and confused, and pretty soon he becomes obsessed with the idea of revenge. After Savage becomes involved in three terrifying deaths, Sothern realizes that her son needs much more than a mother's love and determines that she must put an end to the madness herself, but does she have the strength to do what she feels has to be done?This is a superior thriller, with terrific performances(Savage and Sothern are unforgettable), some darkly humorous moments, and plenty of genuine suspense. Unfortunately, the film is very difficult to locate but if you should come across it either on tape or on late-night TV, you won't want to miss it!FUN FACTS: The film was to originally be titled "Are You a Good Boy?", a line that is used several times in the film. Co-star Ann Sothern wrote a song for the opening credits, but when the title was changed, the song was cut.