Tuesday, October 16, 2012

Rock 'n' Roll, Baby

Aimlessly wandering the New York City streets during the year 1979, he selects his victims at random, slaughtering with them a ferocity unmatched by many. His weapon of choice: a cordless power drill that he jams into his victims, causing a spray of blood to fly as he baptizes himself in the gore and horror of his actions. He is The Driller Killer and he has decided to create new art out of human suffering, crafting new masterpieces of carriage unseen before and worthy of serial killers such as The Son of Sam and The Night Stalker. This is a gritty and ugly vision of New York, less stylish than the similarly bleak urban landscape of Taxi Driver, fueled by rock and roll, desperate people, and one man who goes over the edge and into the realm of insanity. No matter what, there is no escape from this nightmare, yet the film's anti-hero never comes to an actualization of why he's doing this or what goal he hopes to accomplish. There is only blood and more blood, death and dying, the eye of the buffalo through which he peers through and envisions the tragic fact that many of his victims were already walking ghouls before he penetrated them graphically with cold steel. Hope for humanity does not exist, only a world haunted by a person capable of stabbing through your flesh at will. Now it it is dark. 81

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