Five Unforgettable Movie Killers

To celebrate the release of ALEX CROSS, which stars Matthew Fox as crazed killer Picasso, we’re taking a look back at some of cinema’s greatest homicidal maniacs.

Being a great killer in the movies isn’t just about the body count you rack up; some have ‘only’ a few crimes to their name. However, the elite must leave something indelible with their audience. Here are five characters who, to us, stand out as memorable murderers:

PATRICK BATEMAN – CHRISTIAN BALE (AMERICAN PSYCHO)

Bale came to everyone’s attention with his magnetic and chilling turn in Mary Harron’s adaptation of the Bret Easton Ellis novel. Bateman is a difficult character to portray because of the need to marry charisma with repulsiveness, but Bale pulls it off effortlessly. Scenes like the one where the prostitutes he’s been entertaining find a multitude of bodies in his apartment are embedded throughout the film; in equal parts horrifying and darkly funny. It’s a testament to Bale’s performance that he makes you root for a protagonist who is not only a murderer… but also an investment banker.

HANS BECKERT – PETER LORRE (M)

Legendary German director Fritz Lang’s masterpiece features Lorre as child murderer Hans Beckert, who gives the police clues that will become vital in catching a criminal; himself. What Lorre does tremendously is make Beckert – bug eyed, oily and capable of horrific crimes – a sympathetic character, delivering a compelling monologue in which he remarks that his urges are what lead him to commit his atrocities, and not a sadistic pleasure. Lorre is engaging throughout, evolving from creepy to tragic figure as the film progresses. The aforementioned monologue is one of foreign cinema’s most enduring scenes, as Lorre protests to a vigilante group baying for blood. It’s mesmerising acting, and completely succeeds in fashioning a movie murderer who is far more interesting than the tag would suggest.

SPOILER ALERT…

JOHN DOE – KEVIN SPACEY (SE7EN)

Spacey’s third act entrance as the killer haunting Morgan Freeman and Brad Pitt was a huge surprise to cinema-going audiences, as his reveal had been hidden in the marketing campaign for David Fincher’s incredible thriller. When he does turn up with literal blood on his hands, he’s nothing less than alarming, which turns the finale from a whodunit to a whydunit. SEVEN becomes a film that focuses on the methodical nature of its three central characters: Freeman’s wise veteran, Pitt’s hotheaded rookie, and Spacey, who thrives in what could have been a thankless role. His monotone voice helps to form a character that seems soulless, devoid of the human qualities Freeman’s Detective Somerset values so dearly. One of modern cinema’s best actors puts in one of his finest performances.

HANNIBAL LECKTOR – BRIAN COX (MANHUNTER)

Anthony Hopkins’ fantastic portrayal of Lecter (note the spelling change!) gets given enough attention, so we’ve chosen to focus on Cox’s depiction of everyone’s favourite cannibal. Michael Mann, he of blue tinted cops and robbers film fame, directs MANHUNTER and Cox, who is an entirely different beast than Hopkins; a lot of his theatricality is substituted for quiet menace but it works just as well. A stand out sequence is the first meeting between Lecktor and FBI profiler Will Graham, where Cox utilises his formidable talents to create a tense face off between cop and criminal. He’s long been one of Britain’s most underrated actors, but MANHUNTER is a notable entry in his filmography because it gets largely forgotten in light of Hopkins’ Oscar winning showing only five years later. However, Cox proves that the character is endearing enough to allow for two equally admirable performances.

AILEEN WUORNOS – CHARLIZE THERON (MONSTER)

One of the most notable female serial killers in both reality and cinema, Theron is utterly compelling as Wuornos. It would be easy to hate the character due to the nature of her crimes, but Theron and director Patty Jenkins ensure that we first know the source of Wuornos’ initial urges, that we know of her broken past, and that we know however tenuous her motivation, it is there; the scene in which she commits her first kill is tragic, because you know what happens after. An act of self-defence leads to theft and murder, which is sad because it was avoidable, if only fate had thrown Aileen a better hand. Theron rightfully won an Oscar for her portrayal of the serial killer who will go down as an infamous part of American crime history.

ALEX CROSS arrives in UK cinemas today.