source: The Killing Kind

Troubled 20 year-old Terry Lambert(John Savage)returns from prison after serving two years for rape.His doting mother Thelma(Ann Sothern)runs a boarding house for old people but takes in a young girl Lori Cindy Williams).Terry can't control his violent impulses around women;in addition to his bitterness over the rape charge he thinks his mother is a tramp and is ashamed of his own illegitimacy.Repressed neighbor Louise(Luana Anders of "Dementia 13" fame)is attracted to Terry because of the danger he represents.Terry begins stalking the women who sent him to jail-the rape victim and his lawyer."The Killing Kind" is a disturbing 70's character study with three powerful murder scenes and overwhelming atmosphere of sexual tension.The acting is great and there are some short scenes of animal cruelty.8 out of 10.

Story about an innocent boy, Terry, forced by friends to participate in a gang-rape. His pants were down, but he couldn't perform, especially after seeing that the girl seemed to be enjoying the whole thing, leaving a lasting impression in his mind. Making matters worse, he was sent to prison as the girl named him to be a participant, which was untrue. After his release, it was back to Momma's boarding house where he spent his time lounging around the pool, doing odds and ends for the neighbors and keeping Momma company. He was everything to his Momma and she was jealous of other women's advances, especially the new boarder, Laurie, who seemed to fancy Terry. In fact, Terry was desired by most of the lonely ladies around who deemed him misunderstood. But, it seemed that Terry developed an interest in death and gore. He also had a different idea about sex. He wanted to be tough and he wanted it to be rough - just like he envisioned it to be with the young girl who was raped by his friends. One by one, the local ladies were dying and even Momma had to help dispose of one of the bodies! Before long, Terry could not stop what he started and in the end, he got what he deserved. John Savage was totally adorable in this movie and I think he carried off his character well. Also, look for Cindy Williams as Laurie. The only downside to this movie is that Terry's fascination with death and gore are not thoroughly explained. If we are to believe that one almost-rape makes a person obsessed with rough sex and killing - there seems to be more to it than we are shown. Still, I think it's one of Savage's better earlier performances.

I'm kind of neutral on this one. Savage and Sothern have some pretty freaky chemistry going on throughout this movie. I spent the entire movie wanting to laugh, but had that Norman Bates feeling running up and down my spine. You honestly didn't know who to feel sorry for the entire movie -- including the audience. The downside - I expected more chemistry between the killer and the victims. As psychologically intense as the mother-son relationship was, the killer-victim stints left me dry. Technical merit I am going to leave out - I watched a low budget copy of a DVD with horrible sound and picture quality (It CAN'T be the original film quality I won't believe it!) For a psychological case study I give it a B, for a movie to kill an hour or 2 with C-.

Love it, love it, love it. This genuinely compelling tale is an unsung classic of horror & exploitation cinema, and one of Harrington's finest films. It has recently (Fall 2007) been released on DVD for the first time, barring one poor quality cheapie version referenced in another review here. Very exciting to see a decent quality print of it for the first time. The tone of The Killing Kind seems really unusual to a modern viewer because it is slow, quiet, and meditative - not what we have come to expect from a horror film. The story centers on a desperately lonely single mother (Thelma) with inappropriate feelings for her son (Terry), who for his part is tormented by his own thwarted desires and the aggression of the women around him. Southern and Savage give powerful performances and the dynamic between them is intense. Harrington said that Southern tried to upstage the other actors, but was herself intimidated by Savage. Their tension adds to the believability of their twisted relationship. Luana Anders is fantastic as the clinically depressed, sexually frustrated spinster next door. Ruth Roman, with her caftan and 3-packs day voice, is also perfect casting. Special props to Marjorie Eaton as Mrs. Orland.

As sleazy and melodramatic as it all may sound, this is one of exploitation filmmaker Curtis Harrington's better flicks. John Savage(the closest thing we've ever come to another James Dean) is intense and believable every minute as the very disturbed young man, and Ann Sothern is also impressive in one of her more bizarre character parts as the boy's lonely mother who isn't all there herself. Ruth Roman plays Savage's "lousy lawyer", while Luana Anders(of DEMENTIA 13 fame) is the creepy, repressed librarian living next door who makes several unsuccessful attempts to seduce Savage. Cindy Williams, in her pre-LAVERNE AND SHIRLEY days, plays an attractive, but none-too-bright out-of-town girl who makes the dreaded mistake of renting a room in Savage and Sothern's home. It's all relatively low-key, and the finale is too dramatic for it's own good, but thankfully the movie never takes itself too seriously, and the cast, even the actors in the most minor roles, have a ball with it, making this flick a mini-classic of the early 1970's sex/murder/exploitation genre. The film was never released theatrically, but has had a fairly substantial audience thanks to home video.

This is my favorite schlocky-but-brilliant horror film. John Savage is a boy-toy pawn in nature's perpetual game of sexual desire, repression, and loss of control--with murderous results. Ann Sothern is a sympathetic fright as his voraciously lonely and controlling mother. Luana Anders completes this trio of horny misfits in her standout performance as a boozy neighbor who happens to be drowning in a little Oedipal drama of her own. Cindy "Shirley Feeney" Williams is shrill and vacant, but enjoyable, in what might be the dumbest female film role of all time. Ruth Roman provides an added touch as a she-man attorney. Factor in a big, spooky house, numerous felines, and a hilariously misanthropic bacon-waving scene, and this picture wins, big time.

Angry, deranged kid is paroled after serving two years in prison for taking part in a gang-rape; he returns home to his mother's boarding house in a cheaper section of Los Angeles but, with no plans (and no prodding from his gimme-a-little-kiss mommy), he goes after the women who did him wrong. Grimy, ineffectual Curtis Harrington-directed shocker, with a lame-duck screenplay credited to Tony Crechales and co-producer George Edwards. The plot cobbles together various ideas and scenes from a myriad of other thrillers (with a failed overlay of Hitchcock, besides), and the stray cruelty and general bad taste are often excruciating to wade through. Veteran actress Ann Sothern and the newcomers in the cast can possibly be forgiven, but what was Harrington's excuse? After jump-starting his career behind the camera with interesting curios, Harrington got stuck in a kind of post-"Baby Jane" rut, concentrating primarily on stories of delusional bottom-feeders operating on little money or brains; his sense of squalid atmospherics are far stronger than his talent in handling actors. A young John Savage is blobby and unformed in the leading role, while his character goes after female acquaintances without a provocative plan--he just seems restless and trapped by mama. Harrington must have known this script was a loser, injecting arty accouterments into the stew (slow-motion takes, flashback edits, and a really silly dream sequence). It doesn't work at all, and the movie failed to find the proper distribution after Universal passed. *1/2 from ****

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.

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.