Head Cases, the fourth film in the series based on Wayne Montgomery’s murder spree; however, not seeing the previous movies has zero impact on understanding of this creation, from mastermind director Anthony Spadaccini , as it presents itself as documentary of Wayne’s life and deeds first committing murder,= at age 11, complete with flashbacks and a creepy narration delivering a raw horror film.

Wayne committed 41 murders between 1979 and 2007, and kept an extensive video tape history of his art, to eventually sharing with others, and a man vastly ahead of the social dynamics that plague society today and reveals a new generation of breeding killers on his extensive history killing. The entire film presents itself with a collection of home movies from Wayne and Andre Montgomery an average middle class suburban family, of Claymont, Delaware, in which the film is bookended Barbara Lessin (The Ritual [2009]) performing the role of Andrea, while legendary horror actress Brinke Stevens (Night of Something Strange [2016]) portrays the role of Julia Quinn, Wayne’s mother. A truly disturbing and well-crafted movie, that provides great incite to what a twisted mind can do, at the right moment which reflects on Wayne, other killers in the film and Spadaccini, as he orchestrates a beautiful depiction of the mass murdering. This is a portrait of the lives of several killers’ psychotic tendencies and desires, each time more bizarre and thoroughly intimidating.  Quite of gory violence covers itself in a depraved storytelling of the sheer methodical design of killing, the cold monotones on the footage, proving the uncaring nature of the killers. The film uses a documentary style to map out the evil madness which leaves disturbing images for the viewers to watch and yet try to turn away and forget about them. In addition, Anthony provides all the interviews possible with family members, police officers and other individuals fortunate to escape the wraith of Wayne and his disciples. A bit of a spoiler, one must reveal that this entire movie is a mockumentary about infamous killer, well developed by the filmmakers’ team, as the film provides ample believable material in a sight of hand trickery and forgiving immediately by any viewer. By this point in the movie, the audience is wrapped tightly into the storyline, as reality and not fakery, simple the illusion as in The Blair Witch Project (1999). It is heavily suggested though the story comes from the crimes of Canadian serial killers Paul Bernardo and Karla Homolka, hence creating the false Montgomery, the realism really carries the film and the violence looks much more brutal especially using authentic old cameras and not filters.

The entire production feels like a crime drama on the History Channel or a version of 48 hours tv show, with the stress of teaching his followers of the killing techniques and methods to avoid capture,  the footage use in the movie and the individuals that portray villains shows a natural state and not stiff wooden rather very natural. One must look for the tiny role of Detective Joe Moretti (Roberto Lombardi, a man that has a career of doing almost every job on a film and noted for his role in The Cemetery (2013)), really gives a great performance. The images that capture Wayne (Paul McCloskery) pull a triumphant devilish role that provides ammunition for countless hours of watching his art repeatedly. Anthony layers the film with strong evidence from psychiatrists that serial killers expose their true nature is the torture of animals, as children, and elevating the hunt as adults of other humans, though not a rule, in addition, they dismiss the aspect of mutilation of insects, as it’s more of a curiosity to them, focused more of boys than girls. As previously mentioned, the social dynamics of Wayne’s action conveys the sharing showing that the killing on film “snuff” might occur easily and seen as mere creative filmmaking share on social platforms, for instant gratification.

There are few negatives in this production, the direction from Anthony shows rawness, and positively conveys the brutalism of that brings honest filmmaking and provides realistic killing on the screen, that might get Anthony a visit from a local police department inquiry. At no time could one say the script is flawless, which means there bumps in the craft and movie but the notes almost impossible to catch except in one case of a supposedly dead man, caught on film breathing, his lifeless bloodied corpse takes a breath to hold it again. The acting by the entire cast comes across evenly and feels unscripted, meaning that everyone had a natural and comfortable approach to the direction and material, noting the preparedness took dedication on a film budgeted around $17,000.

While Head Cases may not be a perfect movie, it does conquer the goals a ghastly horror movie needs to rivet the audience to their seats, and with the great distribution from WildEye Releasing, more fans will find this gem. Lastly, the kill scenes all taking originality in the excessive violence and avoiding the label of torture porn by miles, a refreshing aspect for one to enjoy a crime ridden thriller of horrific portions and definitely for the gore-hound splatter-punks of the genre.

This review was originally posted on Rogue Cinema’s website back in August 2015.


  • Imitation is the sincerest form of flattery.
  • Murder Leaves a Legacy.




IMDb Rating: 4.2/10

Baron’s Rating: 5.0/10