KALIFORNIA
A film review by James Berardinelli
Copyright 1993 James Berardinelli
Rating (Linear 0 to 10): 5.9
Date Released: 9/3/93 Running Length: 1:57 Rated: R (Violence, nudity, sex, language)
Starring: Brad Pitt, Juliette Lewis, David Duchovny, Michelle Forbes Director: Dominic Sena Producers: Steve Golin, Aris McGarry, and Joni Sighvatasson Screenplay: Tim Metcalfe Released by Gramercy Films
There seem to be two ways in which films typically handle serial killer storylines. Either they create messy exploitation flicks with lots of blood and gore, little plot, and even less characterization (the FRIDAY THE 13TH series, for example); or they give a blunt, hard-hitting view of the subject (HENRY: PORTRAIT OF A SERIAL KILLER, MAN BITES DOG). As with any generalization, there are exceptions, but probably no more than I can count on my fingers. Curiously enough, the latest mass murderer motion picture, called KALIFORNIA, falls somewhere in between the two extremes, and may end up leaving viewers from both camps somewhat dissatisfied.
In the name of research for a book he's writing on serial killers, Brian Kessler (David Duchovny) decides to take his girlfriend Carrie (Michelle Forbes) on a cross-country car trip with stop-offs at famous murder locations. Hoping to find someone to split the costs with (his car gets only eight miles per gallon), Brian advertises on a local college bulletin board. Only one couple answers the ad: Early Grayce (Brad Pitt) and Adele Corners (Juliette Lewis). They look flat broke, but Brian still invites them to get in the car, hoping that they can come up with the cash. During the first stages of the journey, Brian gets along with the newcomers, but Carrie is wary, and for good reason--Early is a murderer, and as the distance to California lessens, the body count piles up.
If you can get beyond the huge coincidence that sets up this motion picture, you're in for a chilling ride. Sure, it's a little hard to swallow that a guy writing a book about serial killers should happen to have one in his car, but this is one of only a few instances where an obvious plot device is used. There are other occasions when formulas come into play (such as the ending), but they are not greatly in evidence, and not every situation is resolved in the expected manner.
KALIFORNIA is a partially-successful tale about conscience and cold-blooded murder. The film takes the time to develop (with varying degrees of success) all four characters, so that when the truth comes out, events gain a resonance they wouldn't have with the lifeless stock personalities inhabiting the average thriller.
That's not to say that all the characters are likeable, or even fully fleshed out. By the end of the movie, Early Grace is still something of an enigma, although certain elements of his brutal, psychopathic behavior have been made clear. Adele seems too naive to be real, and at times her childlike whining becomes annoying. Brian and Carrie are the easiest to identify with, probably because they're the most "normal".
This is no HENRY: PORTRAIT OF A SERIAL KILLER. The impact is far less wrenching, but some similarities run deeper than on the most superficial levels. Like HENRY, KALIFORNIA doesn't glamorize its killings, opting more for the visceral than the grotesque. There's also quite a bit of intellectual speculation about what motivates serial killers. While some of that is out-of-place, it keeps the audience constantly questioning why Early sometimes reacts as he does.
Of the four principal actors, Brad Pitt gives the least impressive performance, probably because of the nature of his character. Early is all rage and self-righteousness. He's never likeable, and Pitt doesn't put a whole lot of effort into showing any humanity. There are times when Early comes perilously close to a caricature.
Juliette Lewis is a little better, but great range isn't required for Adele, either. She's pretty much a simpleminded character who refuses to believe the awful truth about her boyfriend. She shows all the classic symptoms of a victim, some of which are displayed a little too obviously.
David Duchovny and Michelle Forbes give the strongest performances, and since they're the ones we're supposed to identify with, the realism invested in Brian and Carrie lends added depth to KALIFORNIA. These two are fascinated by killers, but that fascination quickly turns to horror when they realize what they have with them in the back seat.
KALIFORNIA is disturbing, and while it doesn't overdo the blood, neither is the violence understated. The basic premise should be enough to keep the meek away--if you have no desire to see a film that follows a serial killer, stay away from KALIFORNIA. Those who don't mind their movies sprinkled with moments of discomfort will find that this picture packs a little more punch than a traditional Hollywood slasher flick.
- James Berardinelli (blake7@cc.bellcore.com) .
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