I AM NOT A SERIAL KILLER

Ireland/UK, 2016, 104 minutes, Colour.
Max Records, Christopher Lloyd, Laura Fraser, Karl Geary.
Directed by Billy O’ Brien.

When someone claims that they are not a serial killer either they are telling the truth (and there may not be much more subtle material for plot development) or they are lying (and that opens up all kinds of developments) – or they may be deceiving themselves, which is something of the case here.

This is an Irish film production but was made in the United States, based on a novel in a series by Dan Wells, exploring the central character with the evocative name John Wayne Cleaver, not just the John Wayne part but also the implications of Cleaver. So, this is something of an Irish perspective on an American phenomenon.

Max Records plays the teenage Cleaver, who goes to school, whose father has walked out on the family but sends inept gifts for Christmas, has a rebellious older sister, and who works in the local small-town mortuary with his mother and her assistant. John seems morbidly interested in serial killers, and wonders whether he himself has that capacity, reassuring his counsellor that when he has killer feelings, he tries to say something good and affirming instead.

He is seeing a psychologist, and they discuss what it is to be a sociopath, which seems to be an accurate diagnosis for John. He does not make emotional connections and does not really know how to make them or to deal with personal interactions with people, even his mother.

What leads to a development, the fact of a series of killings in his town on, the bodies (at least those which are discovered) coming to the mortuary for the family preparation for burial. There is something bizarre about some of the corpses, the removal of organs, suggestions of oil…

The Cleavers have neighbours, an elderly gentleman with a kindly wife, who has been a community leader in his past. He is played by Christopher Lloyd, an interestingly challenging role for him in his old age.

While the audience might be guessing that there is something suspicious about the neighbour, it quickly emerges that John and everyone should be suspicious. What follows are some bizarre killings – and, perhaps surprisingly, a step into what is usually referred to as the supernatural but which generally means something demonic.

What will John do? How does a sociopath handle this kind of situation? Will it inflame his serial killer motivations and action?

Well, that is what the latter part of the film is about an audience will just have to go and see!

1. The title, expectations and interest?

2. An American novel, an Irish perspective on the US? On serial killers? On the supernatural?

3. The small town, the family, friends, neighbours, the barber, the psychologist? The focus on the mortuary and its work? The musical score?

4. Sociopaths, the explanations, seeing a sociopath in action, John Wayne Cleaver and the implications of his name? His consultations with the psychologist? His behaviour, self-knowledge, his drives, seeing something good instead of harming? Giving in to his impulses? Help from family, from school friends?

5. The family, the father leaving, his inept gifts for Christmas? The mother, her work, keeping the mortuary going, the skills? Margaret and her help? The mother and friendly with the psychologist? The hopes for John? His sister, in and out of the house, her angers, coming for the meals?

6. The murders, the bodies, the police, at the mortuary, the missing organs, the oil, the mystery?

7. John Wayne Cleaver, his age, experience, school, his friend, self-knowledge, discussions with the psychologist, his explanations, listening to advice? His reflections? His room? His interest in serial killers?

8. Crowley, the good neighbour, relationship with his wife, resident for many years, talking, John helping clear the snow, carrying the wife’s groceries?

9. John suspicions, spying on Crowley, following him, to the fishing expedition, to the man in the tractor? The photos of Crowley, his honours, for the record? The murder on the ice? The appearance and disappearance of the bodies? At the barbershop, John watching, going to the room, the killing? The body in the car? The cumulative effect of the murders in the town? The newspaper reports? The television? The police investigations?

10. John, buying the GPS, putting it in Crowley’s car, going to the house, John’s attack on Crowley’s wife, almost killing her? His fear, the phone call to the psychologist, the psychologist coming out on the road, Crowley seeing him, killing him? His return home, John and his phone calls, his threats? Crowley finding him?

11. The confrontation, the explanation, the threats, the emerging monster? The supernatural element? The irony of Crowley’s love for his wife?

12. The wife, her living, the happy memories? John and his family? His future?