If you were expecting some insight into the mind of Canada's most notorious female murderer, don't expect much from this film. This isn't like watching Charlize Theron eerily transform into Aileen Wuornos. Although Laura Prepon does her best, she lacks a proper script, a competent director, and a sufficient budget. After seeing credible news documentaries and that creepy interview Homolka gave to Radio-Canada in the summer of 2005 upon her release, Prepon seems to be playing someone completely different, a victim of circumstance and abuse rather than someone who willingly made some very poor choices and destroyed many lives. Where are the accounts of the real Homolka complaining about her father's grief over the death of her sister Tammy (who died as a result of Homolka's involvement) and the brief return she made shortly after her arrest to her St. Catharine's home wearing a schoolgirl's uniform, when she was more concerned about having the police divvy up her belongings from her husband Paul's than the fact that she was entering the same house where the rapes and murders occurred. By painting an obviously inaccurate portrait of Homolka, Joel Bender discredits his own film. At least in Monster, we see Wuornos' difficulty in escaping her environment, but we also see her responsibility in making some terrible decisions. By softening Homolka, we don't struggle with the public's perception of her as evil because her portrait just seems false.
The look of the film reminds me of a standard '80s television crime drama, which is a little tired, but not unattractive. However, the transitions between scenes appear clumsy. Misha Collins also tries his best as Paul Bernardo, but the script lets him descend too easily and quickly to raving lunatic. Collins' Bernardo screams "player" and "creep" from his first appearance. The real Bernardo is baby-faced and has a blank, innocent stare.
I was warned against seeing this film, so of course, I had to see it. I went in having only read a brief interview with Bender stating that the story would stick to recorded events and that the ultimate verdict regarding Homolka's guilt or innocence would be left up to viewers. Trust me, this film does take a stance and points the finger of blame squarely on Bernardo. Sanctifying Homolka reminds of that episode of "The Simpsons" where Mr. Burns writes his autobiography and paints himself not as Machiavelli's successor but as the world's hero.
The look of the film reminds me of a standard '80s television crime drama, which is a little tired, but not unattractive. However, the transitions between scenes appear clumsy. Misha Collins also tries his best as Paul Bernardo, but the script lets him descend too easily and quickly to raving lunatic. Collins' Bernardo screams "player" and "creep" from his first appearance. The real Bernardo is baby-faced and has a blank, innocent stare.
I was warned against seeing this film, so of course, I had to see it. I went in having only read a brief interview with Bender stating that the story would stick to recorded events and that the ultimate verdict regarding Homolka's guilt or innocence would be left up to viewers. Trust me, this film does take a stance and points the finger of blame squarely on Bernardo. Sanctifying Homolka reminds of that episode of "The Simpsons" where Mr. Burns writes his autobiography and paints himself not as Machiavelli's successor but as the world's hero.