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It's the suburban neighbourhood everybody wants to live in: Sunshine
every day, everybody's got his own garden and swimming pool, everybody
looks gorgeous, the men have good jobs, the women are spoilt housewives,
and nobody has a care in the world ... that is, until Kimberly Jennings
(Jamie Eckhart) is found killed. Now Kimberly, a sexy and voluptuous girl
of 18 years, was the favourite babysitter of the neighbourhood, and her
rather open attitude ... well, just connect the dots! Now the scene of the
murder (a motel room) and the rather random choice of murder weapon
suggest that Kimberly was killed by her lover - or one of them, anyways
When detectives Kent (Howard Washington) and Allen (Adam McManus)
start to investigate, they soon zero in on a quintet of housewives (Andrea
Alfonso, Erin Cline, Sarai Sharkey, Melody Colina, Jenny Casey) and their
respective husbands (Mark William Myers, Tom Leyva, Anthony Wayne, David
Weiss, Mike Duffau), who apparently all sleep around with their spouses
knowing. And when one of the housewives (Melody Colina) is found murdered
too, in another love nest aka motel room, only hours after Kimberly's
death, that's too much of an coincidence, so her husband (David Weiss) has
to be the murderer ... right?
Well, wrong, because another housewife
(Jenny Casey) is murdered while he's still at the police for questioning -
and the two-killer-theory is really just something the police makes up to
cover up its inefficiency in the case.
Well, before long, more
housewives die (and some of their husbands, too), and despite Kent and
Allen's best efforts, the police bungles up time and again and stands in
its own way more often than not ... and the true identity of the killer is
almost more shocking than his crimes ...
A serial killer movie
that's old-fashioned in the best meaning of the word: Because it doesn't
rely solely on spectacle, doesn't go the "postmodern" route of
re-interpreting things that work best when left alone, tries to overwhelm
genre fans with genre hommages or tries to randomly cross genre boundaries
because they're there. Instead the film concentrates to tell its story, a
classic murder mystery that might not be 100% original but is brought to
life by its well-structured story, fleshed-out characters and its very
smooth and subtle directorial effort alike.
So, old-fashioned - ok, I
give you that, but in regard to this film, there's nothing wrong with