Dahmer Movie Review – Monster: The Jeffrey Dahmer Story: Ryan Murphy, Netflix, Rinse, Repeat

Critics dismissed, presumably co-author Ryan Murphy can protect the viewing experience for audiences without access to Wikipedia, modern television, or quasi-modern history, Netflix Dahmer – The Beast: The Jeffrey Dahmer Story It’s an infuriating mixture. (This is the last time I’m going to use that full dumb title, one of the many things Netflix brass should have had the means to prevent.)

One can appreciate the performers in Dahmer – Richard Jenkins and Nessie Nash in particular; Evan Peters despite being overly familiar with his role—and the respect Murphy and co-creator Ian Brennan have for tangible and meaningful things to say here—while also feeling the 10-episode series is haphazardly structured, never finds a happy medium between exploration and anticipation, and may not have. There would never be a flattery The Assassination of Gianni Versace: American Crime Story It was more global.

Dahmer – The Beast: The Jeffrey Dahmer Story

bottom line

Chilling but frequent.

Presentation date: Wednesday, September 21 (Netflix)
spit: Evan Peters, Richard Jenkins, Molly Ringwald, Michael Laird, Penelope Ann Miller, Nessie Nash
Creators: Ryan Murphy and Ian Brennan

not this versacIt was not liked, but most critics including myself compared it negatively to the previous season, The People vs. OJ Simpson: American Crime Story. In years of reflecting on the past, I’ve come to really appreciate the points Murphy and writer Tom Rob Smith were making Versace, and the study of the relative elegance of the character allowed by the reverse narration of the series. I’m sure if we were all fans of the season right, Murphy and his cohorts wouldn’t feel the need to say, “Look, you didn’t get the last 10 hour piecemeal interrogation about the series’ intersection of murder and race, and focus on recovering the names and identities of victims from the perpetrator’s bad reputation — so I will try again with more hand holding.”

as was the case in AssassinationAnd the Dahmer It finally begins, in 1991, as prolific serial killer, destroyer and cannibal Jeffrey Dahmer (Peters) picks up Tracy Edwards (Sean J. Brown) at a Milwaukee-area gay bar and returns him to his filthy apartment, where absolutely everything is. It’s a warning sign: There’s blood-soaked pits, a tank full of dead fish, a festering stench, a mysterious blue charging drum, and a VCR running. Exorcist III. Tracy – the historical spoiler alert – escapes, gets the police and soon discovers that Dahmer has, over the course of three decades, murdered and done horrific things with the bodies of 17 young men, mostly young men of color.

From there, we trace Jeffrey’s evolution from an antisocial young boy (awesome Josh Bratten) to an anatomy-loving teen to a serial killer, though never in chronological order, because everyone knows chronological order is for squares and Wikipedia. We witness his relationship with his caring but distracted father (Lionel Jenkins), the unstable and mistreated mother (Penelope Ann Miller), the barely-repentant stepmother (Share Molly Ringwald), his grandmother going to church (Katherine for Michael Lairdid), several victims and neighbors (Nash’s Glenda). ) who kept calling the police about the smell and kept being ignored.

For five episodes directed by Carl Franklin, Clement Virgo and Jennifer Lynch, Dahmer He does the same loops over and over with Jeffrey’s behavior, which I might call an “increasingly nightmare”, except that once you tell the story in a near-arbitrary order, you lose any of the character progression that is “increasingly” involved. So, it’s all just a horrible but monotonous mess in which Jeffrey drinks cheap beer, focuses on someone, masturbates inappropriately and then does something horrible, though at least the series keeps us in suspense about the horrible thing he’s going to do. The tension developed through “Will he eat this victim?” or “Will he have sex with this victim?” You make ogres from the audience, an indictment of staring viewers that I might find more compelling if not coming from the creative team behind countless seasons of american horror story and the network behind feature-length documentaries about every serial killer imaginable.

Smarter notes begin to appear in the second half of the season, starting with the episode “Silent”. Written by David MacMillan and Janet Mock and directed by Paris Barclay with more sympathy than voyeurism, “Silenced” tells the story of Tony Hughes (excellent newcomer Rodney Burnford), who is presented here as perhaps the only victim with whom Jeffrey had traces of a real relationship. It’s easily the best episode of the series, and it’s an uncomfortably sweet, sad hour that’s likely to model the entire show. Tony was deaf, and by placing a black, deaf, and lesbian character at the center of the narrative, the series gives a voice to someone whose voice has often been left out of serial killer visuals.

Apparently Murphy and Brennan want this to be their main takeaway Dahmerbut unlike something like this when they see uswhich had a similar message to turn “The Central Park Five” into individuals with names and characters, Dahmer Maybe he does it with two or three characters other than Jeffrey. The second half of the series is supposed to be, but the show just can’t go out of its own way. There are useless, long, and manipulative spin-offs about Ed Gein and John Wayne Gacy, for example, that get at least 10+ casualties time. This is just pandering to the serial killer’s obsession and undermining many of the series’ themes. I would add that focusing on things like this and minimizing the pain of most victims and their families is akin to exploiting that pain than honoring any memories.

Or take “Cassandra,” the episode revolving around Nash’s Glenda (the actress simultaneously eschews the comic beats that made her a star and offers two or three lines of stunning dialogue that will cheer some viewers on). It’s a good episode because Nash is so good, but she can only get to Glenda’s head with the help of a subplot involving Jesse Jackson (Nigel Gibbs), that’s there to illustrate topics the writers don’t feel safe about creating earlier.

that’s the problem. I know why, on an intellectual level, Dahmer He does many of the things he does. I just hope she trusts her ability to do it.

The first half of the season is as repetitive as it is in part because he wants to make it clear how many different points he would have been caught or his appetite redirected. “All those red flags,” Lionel Dahmer laments. True story! Can the true story be conveyed in two episodes instead of five? Why yes, especially in a series that wants to be about stories we don’t know, because these five episodes are pretty much the story that an act You know, Peters anchored him giving a show full of uncomfortable horror, but, other than “Silent,” it was never surprising. After Peters won a well-deserved Emmy for his break away from the distractions and influences of Murphy’s cinematic world in East Town mareReturns to the performance you expect Dahmeralbeit inconsistent Midwest accent.

The second half of the season aims to establish the completely uncontroversial assessment that Dahmer was able to get away with his crimes because he was a white man who primarily preyed on economically disadvantaged men of color. Milwaukee police, perhaps the real bad guys in this piece, missed many opportunities to stop things because they didn’t care about the race and economic status of the missing people, they didn’t want any part of anyone’s sexuality involved and they couldn’t be. The trouble of showing support in affected neighborhoods.

It’s hard to argue with this as fact in the case – plus it’s the exact subtext of many Versace – I say so Dahmer It makes the point clearly. Then for the last few episodes, with Jesse Jackson and others, the show just kept getting people hooked and saying it. I overexpressed it once, shame on anyone in the audience who didn’t actually understand it. Do it twice, shame on you for not trusting this audience. Do this three times, shame on Netflix’s development managers for not saying, “Yeah, we’re really fine. Keep it up.” But then again, Ryan Murphy loves to show off And the I tell (over and over again), and in a world where so many storytellers forget to do the whole first, I guess we should be grateful?

Through a different editing process, there is an intelligent interrogation of Jeffrey Dahmer’s crimes and the real people affected and the consequences here. It is often lost or blocked. I hope the dramatic choices, and the decision to let the series promote itself, don’t miss out on Niecy Nash, Richard Jenkins, Rodney Burnford and the right show points as well.


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